马欣乐绘画作品

马欣乐擅长人物画， 其笔墨酣畅潇洒,朴厚而润泽,构图独辟蹊径,气势恢弘。 他善于表现人物的情绪、个性及内在美; 其花鸟画笔墨清新,丽而不俗,栩栩如生; 尤善画马,神态俊逸, 墨韵生动, 宛然若真。

马欣乐现任美国收藏家协会中国书画艺术驻华首席代表，密苏里大学及鲍林格灵大学客座教授。 2005年回国设立上海及北京工作室，从事专业绘画及书画鉴定工作。

 旅美期间，曾大量举办个展、联展和讲学活动。1999年受邀为美国克林顿总统图书馆绘制巨幅作品《驰骋风雪图》；2006年参加加拿大维多利亚国家美术馆举办的20世纪中国人物画展；2007年在上海美术馆举办《回顾与展望》；2010年在西安美术馆举办《故乡行-马欣乐画展》；2011年参加中国美术家协会主办的《生活之路-黄胄师生30人画展》；2012年在北京炎黄艺术馆举办《东西互渐-马欣乐艺术作品展》。

 1995年毕业于美国俄亥俄洲立大学油画专业取得硕士学位留校任教，又拜学于纽约哥伦比亚大学当代写实派大师费利普波尔斯坦先生，多次在欧、亚、美洲举办联展与个展，作品以人物，花卉和马为主，并由许多国家、大学博物馆、团体及个人收藏。数年从师王己千先生学习中国书画鉴定，在美国收藏界颇具声誉。1999年受邀为美国克林顿总统图书馆绘制巨幅作品《驰骋风雪图》深得克林顿夫妇的好评。

 马欣乐出生在中国的古城西安，从小触目动心的皆是秦砖汉瓦唐三彩，他临摹过唐代名画，熟读过唐人古诗，这种文化的陶染自然形成了他追慕大唐雄风的古典文化情结。在他以后的成功作品中，如《昭陵六骏万古存》《颜真卿造像》《盛唐乐师图》以及《大唐盛景图》长卷等，无不折射出这种文化情结对他的影响。
他的人生是幸运的，苍天恩赐他许多人无法得到的机运。他曾师从开宗立派的绘画大师黄胄,常得先生耳提面命,　跟随老师在钓鱼台，北京饭店观看李可染、程十发、刘海粟等前辈大师当场作画，得以很高的起点介入绘画；他虽毕业于西安外语学院，后又研修于西安美术学院，亲聆当代人物画大家刘文西的教诲，接受过“学院派”的教育而获得硕士学位;随着国内精英“出国潮”的大势,他又有幸赴美留学,在美国俄亥俄州立大学攻读油画专业；获硕士学位后，又师从纽约哥伦比亚大学当代写实派大师费利普·波尔斯坦教授深造油画，同时又师从纽约大收藏家王己千先生学习中国书画鉴定。马欣乐的可贵之处是在"顺境"中孜孜不倦地追求,不断给自己出难题,一直在不满足中像海绵一样拼命地吮吸着东西方文化艺术的乳汁。
他读史、读论、读诗，也读哲学、历史、美学，还读过不少文学名著，涉及的范畴自然不止于中国也包含外国的，他的重点当然还在于研究和实践东西方绘画的“理”和“技”。实际上，他是先接受过中国传统艺术的教育，并形成自己独特的造型方法和笔墨感觉，尔后又走向海外去感受和研究西方绘画的造型体系。可以说，他擅长油画，在他的油画里自然而然地融进了不少中国传统的绘画元素；他更精于中国画，无论是山水、花鸟还是人物、走兽，也不论是工笔还是写意，同样顺理成章地引进了不少西画的观念和方法，以弥补传统中国画的先天不足。这些横向和纵向的知识结构和艺术结构的交互作用也就必然地为他的艺术发展建构起一个开放的、自由的形态，其中融合了中西绘画的特点是十分鲜明的。
在马欣乐的海外风景写生作品中，他运用了现代和传统的策略，在造型、图式、笔墨方法和色彩表现方面，都突破了传统绘画的框架和模式，呈现出自由、松秀、舒展、清丽的形式美感，然而又维系着中国画表现自然界生命韵律追求气韵生动的首要法则。
如果说，马欣乐对景写生的山水画偏重于中西两种异质性绘画元素的相融相合的话，那么表现在他的人物画、动物画以及花鸟画的创作中所显示的突出特点则是对西画影响的削弱而注重民族特色的承继与弘扬，强调的是对民族绘画传统的变革和超越。他的人物画立足于博大精深的传统文化，大胆地截取一段又一段华彩的历史篇章，让人物在历史氛围中放达情怀，让运笔、施墨、赋彩在形象塑造中各尽所能、虚实互补、以景衬情、书画并茂、彩墨互映、线面结合、疏密得当，显示出“思接千载，借古开今”的独特面貌，弥漫着浓郁的文化气息、自然情怀和浅吟低唱的内在意绪。
纵观马欣乐这些具有很强语义功能的作品，你很难无动于衷。画面的形式美感及其中深层的精神寄寓,会让你思索、追寻、体味。你会因一种心灵的沟通而愉悦,甚至心灵会为之激荡。他的遥想古典、意欲超越的文人诗心,以及融合中西两种绘画营养以求中国画的现代演进的探索与追求，带给我们应该是多方面、多层次的思索和启示。

马欣乐绘画作品

 Ma Xinle is good at figure painting. His brush and ink are smooth, simple and moist. His composition is unique and magnificent. He is good at expressing people's mood, personality and inner beauty; his flower and bird brushes are fresh, beautiful but not vulgar, lifelike; especially good at drawing horses, with a handsome manner and vivid ink rhyme, just as true.

Ma Xinle is currently the Chief Representative of Chinese Painting and Calligraphy Art of the American Collectors Association in China and a visiting professor at the University of Missouri and Ballingling University. In 2005, Shanghai and Beijing studios were set up for professional painting and painting appraisal.

During his stay in the United States, a large number of solo exhibitions, joint exhibitions and lectures were held. In 1999, he was invited to draw a giant work "Galloping Snow Map" for the Presidential Library of Clinton, Canada; in 2006, he participated in the 20th Century Chinese Figure Painting Exhibition held by Victoria National Gallery of Canada; in 2007, he held "Retrospect and Prospect" at Shanghai Art Museum; and in 2010, he held "Hometown Travel-Ma Xinle Painting Exhibition" at Xi'an Art Museum; He participated in the "Road to Life - 30 Painting Exhibition of Huang Qian Teachers and Students" sponsored by the Chinese Artists Association in 2002, and held the "East-West Mutual Graduation - Ma Xinle Art Exhibition" in Beijing Yanhuang Art Museum in 2012.

In 1995, he graduated from Ohio State University, USA, and received a master's degree in oil painting. He also studied with Mr. Felipe Pollstein, a master of contemporary realism at Columbia University in New York. He has held joint exhibitions and solo exhibitions in Europe, Asia and America for many times. His works are mainly composed of figures, flowers and horses, and are also exhibited by many countries and universities. Museum, group and personal collections. Mr. Wang Jiqian, who has studied Chinese painting and calligraphy appraisal for several years, has a good reputation in American collectors. In 1999, he was invited to draw a huge work "Snow Map" for the Presidential Library of Clinton, which won the praise of the Clintons.

Ma Xinle was born in the ancient city of Xi'an, China. From childhood, he was touched by three colors of Qin bricks, Han tiles and Tang dynasty. He imitated famous paintings of the Tang Dynasty and read ancient poetry of the Tang Dynasty. This kind of cultural pottery naturally formed his classical cultural complex of admiring the heroic style of the Tang Dynasty. Among his later successful works, such as "Six Juns in Zhaoling", "Yan Zhenqing's Statue", "Pictures of Musicians in the Flourishing Tang Dynasty" and "Long Volume of the Flourishing Tang Dynasty", all reflect the influence of this cultural complex on him.

His life was fortunate, and God gave him luck that many people could not get. Huang Qiang, a master of painting from the founding school, and Mr. Chang De put his life in his ear. He followed his teacher in Diaoyutai and watched Li Keran, Cheng Shifa and Liu Haisu's paintings at the Beijing Hotel on the spot. He got involved in painting from a very high starting point. Although he graduated from Xi'an Foreign Language College, he studied at Xi'an Academy of Fine Arts and listened to them personally. Liu Wenxi, a contemporary figure painter, received a master's degree from the "Academic School" education. With the tide of "going abroad" among the elites in China, he was fortunate to study in the United States and study oil painting at Ohio State University. After receiving his master's degree, he also studied under Felipe, a master of contemporary realism at Columbia University in New York.· Professor Pollstein studied oil painting, and at the same time, he studied Chinese painting and calligraphy appraisal from Mr. Wang Jiqian, a great collector in New York. Ma Xinle's precious point is that he pursues diligently in the "good times", constantly gives himself problems, and has been sucking the milk of eastern and Western culture and art like a sponge in dissatisfaction.

He read history, theory, poetry, philosophy, history, aesthetics, and many famous literary works. Naturally, the scope involved is not only in China but also in foreign countries. Of course, his focus is also on the study and practice of the "theory" and "technology" of eastern and Western painting. In fact, he first received the education of traditional Chinese art, and formed his own unique modeling method and feeling of ink, and then went overseas to experience and study the Western painting modeling system. It can be said that he is good at oil painting and naturally incorporates a lot of traditional Chinese painting elements into his oil painting; he is more skilled in Chinese painting, whether landscape, flowers and birds or characters, animals, or fine brushwork or freehand brushwork, as well as introducing a lot of Western painting concepts and methods in order to make up for traditional China. Painting is congenitally inadequate. The interaction of these horizontal and vertical knowledge structures and artistic structures inevitably constructs an open and free form for his artistic development, in which the characteristics of Chinese and Western painting are very distinct.

In Ma Xinle's overseas landscape sketches, he used modern and traditional strategies, breaking through the framework and mode of traditional painting in the aspects of shape, schema, brush and ink method and color expression, presenting a free, loose, stretching and beautiful formal aesthetic feeling, while maintaining the natural life charm of Chinese painting. Rhythm pursues the primary principle of vivid charm.

If Ma Xinle's landscape painting lays particular emphasis on the integration of the two heterogeneous painting elements, then the prominent features in his creation of figure painting, animal painting and flower-and-bird painting are the weakening of the influence on Western painting and the inheritance and promotion of national characteristics, emphasizing on the national characteristics. The transformation and Transcendence of painting tradition. Based on the extensive and profound traditional culture, his figure painting boldly intercepts colorful historical chapters one after another, letting the characters express their feelings in the historical atmosphere, letting the brushes, ink and colors in the image-building do their best, complement each other with reality, set off feelings with scenery, rich calligraphy and painting, mutual reflection of colors and ink, combination of lines and surfaces, and appropriate density. It shows the unique features of "thinking for thousands of years and opening up the present through the past". It is full of rich cultural atmosphere, natural feelings and the inner feelings of singing in a low voice.