余润德，1967年生，祖籍福建，现居北京。当代知名艺术家，艺术教育专家。多年来在清华大学美术学院主持艺术高端教育，是一位具有开拓性的当代艺术家和高端艺术教育专家，有着良好和广泛的社会声誉及影响力。其艺术上独特的个人风格和丰富的艺术语言，让人产生强烈的情感与思想的共鸣。其人生的丰富性和执着的理性思考，构成了他艺术上独特的个人风格和丰富的艺术语言，让人产生强烈的情感与思想的共鸣。其作品的精神内核和表现形式，是对当今社会的深度思考，亦是生命的哲思，不落俗套，洞达内心。如果说通过艺术，感知和表达人的生命和情感是画者的信仰，余润德无时无刻不践行着他内心淡然纯粹的信念和与众不同的文性和气度。

余润德始终以教育和艺术创作作为自我的价值主体，兼容社会责任，积极参与社会事务，不断获得了丰富的生命体验和人生感悟。

余润德作品

 主要展览

2017年

举办余润德艺术作品个展，中国人民大学艺术学院；

参加北京当代艺术馆十周年庆提名展，北京当代艺术馆；

参加法国 Art Capital 国际大展(原秋季沙龙展) ，法国巴黎大皇宫；

参加“须有作为”作品展，今日美术馆；

2016年

参加天工开物艺术大展，今日美术馆；

参加中国关注艺术家作品国际展，美国加州；

参加厦门大学艺术学院95周年作品展，厦门大学艺术学院；

2015年

举办“隐身之焰”个展，今日美术馆；

船绮·艺述作品展，今日美术馆；

参加2015意大利米兰世博会中国馆作品展，米兰世博园；

举办“疏离的诱惑”个展，北京中华世纪坛世界艺术中心；

2014年

参加亚洲艺术四十年国际展，美国纽约；

举办“此景我在”个展，清华美院；

参加首届中国北京国际艺术臻品展，北京；

2013年

参加法国第67届新现实主义沙龙展，法国巴黎；

举办余润德作品个展，清华美院；

参加宋庄艺术节展，北京上上美术馆；

2010年

参加当代艺术国际提名展，北京；

2009年

参加学院派艺术家作品展，北京；

艺术活动

2016年

策划组织“中国关注艺术家作品国际展”并当任总策展人；

受邀前往联合国总部与联合国文化艺术官员交流讨论中国关注艺术国际发展问题；

受邀做客美国纽约中文电视金牌节目《纽约会客室》进行个人艺术专访；

应美国加州州立大学长滩分校、洛杉矶分校、新泽西州州立大学威廉·帕特森大学的邀请，进行学术交流与访问；

中国人民大学艺术学院“复兴之路－重读经典展览”学术主持；

2015年

应邀参加英国伦敦艺术大学及今日美术馆共同在英国举办的“须有作为”艺术交流及考察学术交流活动；

主持第四届中国新锐批评家高端论坛；

2014年

受聘2015意大利米兰世博会联合国国际信息发展组织馆艺术总策划；

中法建交50周年“首届中国北京国际艺术臻品展”艺术总监；

主持经典与传承——中外艺术名家论坛；

主持中国艺术品投资与收藏高峰论坛；

2012年及2013年

分别赴法国和美国进行学术交流和考察；

2012年

第十五届北京国际艺术博览会艺术总监；

2010年

被中国策划家协会评为中国100名实力派策划家之一；

2009年

策展学院实力派艺术家作品展。

 2005—2015年，负责清华大学美术学院高端艺术教育培训项目，在文化、艺术、美学、绘画、音乐和佛学等诸多领域涉猎广博，并将之设置为高端教育课程，其中许多项目均为国内首创，培养文化艺术类高端人才数千人，取得了良好和广泛的社会效应。

教育成果

清华大学美术学院艺术品鉴赏与经营管理高级研修项目；

清华大学美术学院艺术金融管理高级研究项目；

清华大学文化艺术产业投资与经营管理研究生课程项目；

清华大学美术学院专家型古玩鉴定高级研究项目；

清华大学美术学院当代艺术研究与投资高级研修项目；

清华大学美术学院艺术设计教育管理高级研修项目；

清华大学美术学院佛教文化艺术管理高级研修项目；

清华大学美术学院当代艺术创作研究生课程项目；

清华大学美术学院当代国画创作名家导师高研项目；

清华大学美术学院当代油画创作名家导师高研项目；

清华大学美术学院当代书法创作名家导师高研项目；

课程方向

中西方绘画艺术的审美比较；

当代艺术嬗变中的创作语境与价值分析；

中国传统美学与艺术修养的当代价值和意义；

中国传统书画艺术鉴赏；

中国传统绘画笔墨技法研究与审美；

艺术品鉴赏与收藏；

艺术写生与创作实践课程。

 评余润德—清华大学美术学院教授、博导、著名批评家岛子先生

在以往的探索和积累中，余润德在表现性、抽象性形式语言中融合水墨艺术的书写性、意象性语汇，形成了具有自由表现张力且不失内敛的个性化风格，经由长期艰苦而有效的实践，使之豁然跃出当代油画知识构型体制化格局，他的面目与方位同时清晰起来。从上下文关系来看，他的成就得益于长期的艺术教育经验与省察，更是来自不懈的艺术语言实验。

就前者而言，他通过主持清华大学美术学院高端艺术培训（这种既是后卫，又是前沿的教育事工），获得了整体观察、价值判断、观念革新的实证经验和可能性的条件，而后者其实是一种自我教育、预示和修正，因而是一个决定性的关键因素，这就是如何将艺术家的主体维系于心灵、情感、意志的整体存在，而强有力的抗衡后现代、后历史生存的虚无、异化、失落及破碎。

由此而来，有力保障了他的绘画形式语言不断试错而不断出新，在结构处理上，以灰色、黑色营造主调，与局部、片段化的纯色相呼应、贯通气脉，纯净利落、不搭配、不矫饰。而实处的透明性，注入不确定性的朦胧感、游离感以及有分寸感的抽象，虚实相间、以意象造境，其画面构图与主题意义始终控制在智性内敛与饱满的情绪张力之间，令观者在那些踟蹰、彷徨的游魂般的男女人物形象中移情、投射、感悟、凝睇。

他的实践表明，形式语言的创造并不仅仅依赖于社会现实的再现，还付诸于心理的现实、潜意识的现实、不可见的默观之真实，而所有形式语言的创造性都离不开技法上的博采众长，余润德做到了，而且在同代人中表现相当出色。（摘录部分）

评余润德—中央美术学院教授、博导、著名艺术批评家易英先生

经过艰难的跋涉，余润德已经站到了一个高峰上，他构造了一个自己的语言体系，成功地将两个传统融入到现实和现代，这两个传统就是中国的传统文化与西方的绘画语言，关键在于，传统文化的无意识构造和油画语言的专业训练构成他生命的先后关系，前者是生命的本质，后者是生命的经验，在寻找生命的本质的时候并没有放弃后者所提供的经验表现的追求。这样就构成了他现在的艺术，现实的经验，深刻的反思，家园的坚守，精神的指向，都以他独特的方式表现出来。“异样的自由”是精神的自由，精神不为样式所累，但又必须具有适合精神表现的方式，而且没有现成的图纸。余润德肯定还会继续探索下去，他不会停留在目前的状况，现实的压力会触发表现的动机，现实的关怀对他是自明的，而表现的方式却在永远的变动。他的艺术历程说明了这一点，不同的是，他有了一个新的高度和自由的自我。（摘录部分）

评余润德—清华大学美术学院教授、博导、原副院长包林先生

余润德在画面结构的处理上，把大面积的灰色、恰当的黑色与局部的纯色进行组合，且干净利索地一次性完成，让色彩的透明性和色域边界的不确定性形成一种非常丰富的画面表达；而在具体的造型上，他则有意将画中人物作出虚实两极不同的处理，让主题叙事朦胧而含蓄。显然，余润德的绘画属于表现主义一路的风格，但较之西方的同流派画家，中国艺术家的表现手法则相对内敛、含蓄，更适合本土的观看语境。他的画正是在选材上关注社会现实，技法上博采众长，表现上有意识地自我控制，才会吸引我们的目光。（摘录部分）

评余润德—中央美术学院教授、博导、著名策展人赵力先生

余润德近期完成的一系列作品大致反映了他最近的艺术思考和创作方向。从中可以清晰地看到，艺术家开始以谨慎的态度去分析西方现代艺术创作的成败得失，与此同时也对中国传统文化充满敬意，并进行深入思考和研究，从中得到很多启发和新感悟，并将这种兼具中西方双重经验的艺术感悟，含纳和融化于他的艺术创作之中，去建构其当代性的表现与再造的个体语言和思想观念。在这种理念和原则下，艺术家已经不在乎是否以所谓的“表现主义”作为宗旨和自我价值界定，对于西方现当代表现主义末流的“空疏乏味”也毫无兴趣。与之相反，他从中国文化传统中品味古今，在时空穿梭中遥接前贤的灵魂。但是余润德并不想“折中中西”或者“兼容并包”，他始终都对似是而非的东西抱持怀疑的态度。在余润德看来，所谓的“折中”和“包容”可能成为某种托词，而承认文化差异和古今丕变才是明智之举。经过深思熟虑，他希望在自己的创作中最大可能地并存各种文化因素，从而达成内质化的多样存在和整一性的外部面貌。（摘录部分）

评余润德—中国国家画院研究员、著名批评家朱其先生

余润德《隐身之焰》艺术个展“身体之焰”的语言重点是一种色域表现主义，即通过一种色域及色调来表现身体能指的意义及场域的精神维度。与文本化的作品通过叙事表达能指的含义不同，“身体之焰”系列对于能指的意义传递，则是通过一种精神分析式的色域表现主义。这一系列的色调分为灰色及暖红色两大调子，以色调作为一个精神视角，灰色作为一个神性的批判视角，暖红色作为一种消费主义的自性色调。

重点在于一种色域性的语言，按照形体和场域的结构，将画面分成不同块痕的色域，实际上是一种色域化的能指，每一块色域肌条，不仅为显现一种情绪特质，而是传递一种能指的意义。比如，白色域代表一种“妖夜”的受光区，黑色域代表一种虚无的场域，红色域指涉一种消费性瘾。为了找到一种色域表现的笔法语言，余润德尝试吸收了水墨晕染的笔法形态，尽可能使用丙烯类的水颜料，达到软性块痕的液态化的诗性形式。

某种意义上，余润德的绘画在从事一种双重的探索，一是在当代艺术语境下对绘画性的表现主义的尝试，尤其是色域表现主义，以及将形象作为一种色彩精神分析的能指；二是对碎片化主体的总体主义概括，放弃了宏大叙事，以色域的结构将整个场域能指化，因而获得了另一种总体性视角。这使“身体之焰”提供了一种不同的图像方式。（摘录部分）

评余润德—中央美术学院教授、博导、著名艺术家袁运生先生

“受之于眼，游之于心”！润德作品给人的视觉感受是：自由、率性、开放。暗含着敏感的文心和情思，他把个人的生活感悟和解读，融汇于水墨逸趣，漫延变幻。画者的忧戚与所思，以独有的语言得以诠释，引发观者共鸣。

立象尽意，是画者不变的追求。润德作为一位中青年画家，践行着他的生命关照！

评余润德—中国嘉德国际拍卖有限公司总经理胡妍妍女士

余润德先生多年来致力当代艺术的创作与实践，孜孜不倦的探索与创新，业已取得骄人成就。其创作表达的深刻精神诉求和情感表现可见一斑，其独特的个人风格和丰富的艺术语言，亦将让人产生强烈的情感与思想的认同。其作品的精神内核和表现形式，是对当今社会的思考，亦是对人生的思考。

评余润德—法国新现实主义沙龙主席Olivier Di Pizio

2013年9月余润德先生等中国六位艺术家受邀参加了第67届法国新现实主义沙龙展，我很高兴看到余先生的作品，他是一位很优秀的中国艺术家，在与他几天简短的接触和交流中，我感受到他对于艺术的热情和执着，为人的真诚和淳朴。余先生是学习西方油画出身，受西方表现性绘画影响很大，绘画方式与众不同。他对于艺术当代性的思考和个人艺术语言和图式的构建，给了我一种强烈而全新的感觉。余先生去过西方的一些城市，切身体验到异域的不同风景，试图逃离自我早已熟悉的画笔下的“安逸”之地，在用墨用色构图上做出很多创新和突破，多样化的主题和艺术语言呈现中，我看到异于西方绘画的精彩之处。语言也许会产生某种程度上的障碍，但艺术和情感交流是无国界的，神秘而伟大的中国有非常多优秀的艺术家，创造出大量的特色独具而充满魅力的作品，余先生画作独特的艺术表现和富有极强吸引性的想象力，令人进入一个全新的领域和视域

评余润德—法国雷诺阿艺术基金会总裁Emmanuel Renoir

我非常荣幸的受邀参加了由余润德先生策划的首届中国北京国际艺术臻品展，通过这次中法建交50年的国际艺术臻品展我们建立了友谊，加深了了解，看到了余润德先生的作品的独特表达。从他的绘画作品中可以明显地感受到其融贯东西方文化，特别是中国文化的精神性，在其自身的艺术语言突破和观念表达中的独特性中得以建构。中国艺术家绘画的大量探索和实验，视野的广阔和对艺术进行的诸多思考，在画布上富有思想性的表达和画面呈现，令我感到惊奇。听余先生说他将举办个人画展，艺术家和热爱艺术的人们将共同享受这次艺术的盛宴。我为他的成就感到由衷的高兴，并祝福画展圆满成功。

评余润德—法国巴黎秋季艺术沙龙主席Noel Coret

雷诺阿基金会和我们巴黎秋季艺术沙龙一道，很荣幸地受邀参加了由北京市文资办主办，余润德先生策展的首届中国北京国际艺术臻品展。在这次展览上，我对中国的绘画有了全新的认识。在巴黎蓬皮杜，每年都会展出大量的来自世界各国的现代艺术品，我们也看到越来越多和越来越优秀的中国艺术家的作品。同样地，在此次首届中国北京国际艺术臻品展上，我看到清华美院余润德先生的画作，可以说他是一位我很欣赏的中国艺术家，作品富有强烈的视觉冲击力，饱含阔大的想象性，轻逸、晕染，又不失厚重和沉稳，多样化的艺术语言给人新奇之感，带给观者一种很美妙的艺术享受。希望余先生的画作被更多海内外人士看到，诚挚地邀请余润德先生有机会加入我们巴黎秋季艺术沙龙，祝愿余先生绘画艺术展览顺利举办，圆满成功。

余润德—自我艺术评述

人文、社会与生命意义下的关照，不仅是当代艺术创作上的精神期待和价值取向，也是每一个当代艺术家赖以生存和发展的必由之路。

于我，坚守最初的艺术理想和艺术状态，凸显自我异在性、异质性和异样性的艺术特点，试图在作品中隐喻出个体感觉性与反思性的问题针对性表达，努力使作品呈现更为多样的艺术体验与特征，精神性更为深入而异质，逐渐形成了面对疏离与诱惑能指之外的多重审美维度。

在作品的审美内涵与思想表达上，强调和表现具有中国人文精神个性意味的品格化的一面，使之突显其中，试图通过一种熟悉的陌生感将观者独立于绘画与现实之外，造成一种艺术上的冷漠与疏离——当代社会与人及其内心的常态与处境。使传统的民族语汇和审美定势在与当代文化的撞击中实现融合与重构，并赋予其更深的人文及当代精神性价值所指。

在具有不确定性的当下，生存现状与文化语境，当代生活与历史传统，知识生产与肉身体验的复杂关系中，作为艺术家的我，试图把自己承继已久的艺术语言和当代思维观，通过不断的实验和大胆探索，使艺术本体语言在与当代文化观念的撞击中实现融合与重构，获得再生，并得以呈现。

 Yu Runde is a well-known contemporary artist, art education expert and professor.

Vice Chairman of the Chinese Society and Art Association of the Ministry of Culture and Brigade of China and President of the Academy of Fine Arts of China and the West. Director of Education Committee of Renaissance Research Institute of Renaissance of Renmin University of China, Executive Director of Arts and Law Research Center of Lawyer College of Renmin University of China, Special Professor of Arts College of Renmin University of China, Special Professor of Art College of Xiamen University, Urban Assembly Integrated Construction Research Center of Architectural Design Research Institute of Tsinghua University (City) He is a researcher and member of the Academic Committee of China Academy of Arts and Economics. Deputy Director of the Editorial Committee of the Magazine "Artistic Works Assurance" of the State Administration of Quality Supervision and Inspection, and Editor-in-Chief of the series "China Concerns and Famous Chinese Artists in the Twentieth Century" of Tianjin People's Fine Arts Publishing House. Pauli International Auction Art Consultant, National First-Class Art Appraiser. Former tutor of contemporary famous calligraphers and painters of the Academy of Fine Arts of Tsinghua University, and member of the Art Evaluation Committee of the Ministry of Culture.

A Brief Introduction to Art

Yu Runde, born in 1967, is from Fujian and now lives in Beijing. Contemporary well-known artists, art education experts. Over the years, he has presided over high-end art education in the Academy of Fine Arts of Tsinghua University. He is a pioneering contemporary artist and expert in high-end art education. He has a good and extensive social reputation and influence. Its unique artistic style and rich artistic language make people have strong emotional and ideological resonance. The richness of his life and his persistent rational thinking constitute his unique artistic style and rich artistic language, which make people have strong emotional and ideological resonance. The spiritual core and form of expression of his works are not only the deep thinking of today's society, but also the philosophical thinking of life. If through art, perceiving and expressing human life and emotion is the painter's belief, Yu Runde always practices his pure and indifferent belief and distinctive literary style.

Yu Runde always regards education and artistic creation as the subject of self-value, compatible with social responsibility, actively participating in social affairs, and constantly gaining rich life experience and life perception.

Art Evaluation

Comment on Mr. Yu Runde, Professor, Doctor and Famous Critic of the Academy of Fine Arts of Tsinghua University

In the past exploration and accumulation, Yu Runde fused the writing and imagery vocabulary of ink and wash art in expressive and abstract formal language, and formed a personalized style with free expression tension and restraint. Through long-term hard and effective practice, it suddenly leaped out of the institutionalized pattern of contemporary oil painting knowledge configuration. His face and position became clear at the same time. From the perspective of context, his achievements benefit from long-term artistic education experience and reflection, but also from unremitting artistic language experiments.

As far as the former is concerned, by presiding over the high-end art training of the Academy of Fine Arts of Tsinghua University (which is both a guard and a frontier education ministry), he has acquired the conditions of empirical experience and possibility of holistic observation, value judgment and concept innovation, while the latter is actually a kind of self-education, prediction and revision, so it is a decision. The key factor of qualitative analysis is how to maintain the artist's subject in the whole existence of soul, emotion and will, and to strongly resist the nihility, alienation, loss and fragmentation of post-modern and post-historical existence.

As a result, it effectively guarantees that his formal language of painting keeps trial and error and keeps innovating. In the structural treatment, the main tone is created by gray and black, which corresponds to the local and fragmented pure color, runs through the vein, and is pure and elegant, unmatched and not pretentious. And the transparency of reality, injecting uncertainty, vagueness, sense of freedom and sense of discretion into the abstract, virtual and real, imagery to create the environment, its picture composition and thematic significance has always been controlled between intellectual restraint and full emotional tension, so that the viewers in those wandering, wandering soul-like images of men and women in the empathy, emotion, and emotional tension. Projection, perception and gaze.

His practice shows that the creation of formal language does not only depend on the reappearance of social reality, but also on the reality of psychology, subconscious and invisible silence. The creativity of all forms of language can not be separated from the broad-minded advantages of technology. Yu Runde has done it, and it has been shown quite well among his contemporaries. Color. (Excerpt)

Comment on Mr. Yu Runde-Professor, Doctor and Famous Art Critic Yi Ying of the Central Academy of Fine Art

After a difficult journey, Yu Runde has reached a peak. He has constructed his own language system and successfully integrated the two traditions into reality and modernity. These two traditions are Chinese traditional culture and Western painting language. The key lies in the unconscious construction of traditional culture and the specialty of oil painting language. Training constitutes the successive relationship of his life. The former is the essence of life, the latter is the experience of life. In seeking the essence of life, he has not abandoned the pursuit of experience expression provided by the latter. This constitutes his present art, practical experience, deep reflection, adherence to his home and spiritual orientation, all in his unique way. The "unusual freedom" is the freedom of spirit. The spirit is not burdened by the style, but it must have a suitable way of spiritual expression, and there are no ready-made drawings. Yu Runde will certainly continue to explore, he will not stay in the current situation, the pressure of reality will trigger the motivation of performance, realistic care for him is self-evident, but the way of expression is changing forever. His artistic history illustrates this point, but the difference is that he has a new height and a free self. (Excerpt)

Comment on Mr. Bao Lin, Professor, Doctor and Former Vice-Dean of School of Fine Arts, Tsinghua University

Yu Runde combines a large area of gray, appropriate black and local pure color in the processing of picture structure, and completes it cleanly and quickly at one time, so that the transparency of color and the uncertainty of color gamut boundary form a very rich picture expression; and in the specific shape, he intentionally paints the characters in the painting. The treatment of the two extremes makes the theme narrative obscure and implicit. Obviously, Yu Runde's paintings belong to the style of expressionism all the way, but compared with the Western painters of the same genre, the Chinese artists'expressive techniques are relatively restrained and implicit, which is more suitable for the local viewing context. His paintings attract our attention only when they pay attention to social reality in the selection of materials, adopt all kinds of skills, and consciously control themselves in their performance. (Excerpt)

Comment on Mr. Zhao Li, Professor, Doctor and Famous Curator of the Central Academy of Fine Arts

Yu Runde's recent series of works roughly reflect his recent artistic thinking and direction of creation. It can be clearly seen that the artists began to analyze the success or failure of western modern art creation with caution. At the same time, they also paid great respect to Chinese traditional culture and made in-depth thinking and research, from which they got a lot of inspiration and new insights. They also included this kind of artistic insights with both Chinese and Western experience. Nahe melted into his artistic creation to construct his individual language and ideas of contemporary expression and reconstruction. Under this concept and principle, the artist no longer cares whether the so-called "expressionism" is taken as the purpose and self-value definition, nor is he interested in the "emptiness" of the last stream of western modern and contemporary expressionism. On the contrary, he savors the past and the present from the Chinese cultural tradition, and receives the souls of the former sages in the space-time shuttle. But Yu Runde did not want to "compromise China and the West" or "be compatible with each other", he always had a skeptical attitude towards specious things. In Yu Runde's view, the so-called "compromise" and "tolerance" may become some pretext, and it is wise to recognize cultural differences and ancient and modern changes. After careful consideration, he hoped that various cultural factors could coexist in his creation as much as possible, so as to achieve a diversified existence of endoplasm and an integrated external appearance. (Excerpt)

Comment on Yu Runde-Mr. Zhu Qi, Researcher and Famous Critic of China National Academy of Painting

The language emphasis of Yu Runde's "Body Flame" art solo exhibition "Invisible Flame" is a gamut expressionism, which expresses the signifier's meaning and spiritual dimension of the field through a gamut and tone. Unlike textual works, which express the signifier through narration, the series of "body flame" conveys the signifier's meaning through a psychoanalytic gamut expressionism. This series of tones can be divided into two major tones: gray and warm red. The tone is regarded as a spiritual perspective, gray as a critical perspective of divinity, and warm red as a self-tone of consumerism.

The key point is a gamut language. According to the structure of body and field, the picture is divided into gamut of different blocks. In fact, it is a gamut signifier. Each gamut muscle strip not only shows an emotional trait, but also conveys a signifier's meaning. For example, the white domain represents a "nightmare" light-receiving area, the black domain represents a nihilistic field, and the red domain refers to a consumer addiction. In order to find a color gamut expression of the brushwork language, Yu Runde tried to absorb ink halo brushwork form, as far as possible using propylene water pigments, to achieve the liquid form of soft block marks.

In a sense, Yu Runde's paintings are engaged in a dual exploration. First, in the context of contemporary art, he tries to express the expressionism of painting, especially gamut expressionism, and regards image as a signifier of color psychoanalysis. Second, he summarizes the totalism of fragmented subjects and abandons grand narrative. The whole field can be denoted by the structure of gamut, thus obtaining another general perspective. This makes "body flame" provide a different way of image. (Excerpt)

Comment on Mr. Yuan Yunsheng, Professor, Doctor and Famous Artist of the Central Academy of Fine Arts

"By the eye, by the heart"! The visual feeling of Runde's works is: freedom, frankness and openness. It implies a sensitive literary mood and mood. He integrates his personal life perception and interpretation into the leisurely interest of ink and wash, which is changeable and prolonged. Painters'worries and thoughts can be interpreted in unique language, which arouses the sympathy of the viewers.

Imagery is the constant pursuit of the painter. As a young and middle-aged painter, Runde practices his life care!

Comment on Ms. Hu Yanyan, General Manager of China Jiade International Auction Co., Ltd.

Mr. Yu Runde has been devoting himself to the creation and practice of contemporary art for many years, and has made remarkable achievements in his tireless exploration and innovation. Its profound spiritual appeal and emotional expression can be seen. Its unique personal style and rich artistic language will also generate strong emotional and ideological identity. The spiritual core and manifestation of his works are not only the reflection of today's society, but also the reflection of life.

Comments on Olivier Di Pizio, Chairman of French New Realism Salon

In September 2013, Mr. Yu Runde and six other Chinese artists were invited to attend the 67th French Neo-realism Salon Exhibition. I am very glad to see Mr. Yu's works. He is an excellent Chinese artist. In his brief contacts and exchanges with him for several days, I feel his passion and persistence for art, and his sincerity and friendliness for people. Simplicity. Mr. Yu is a student of Western oil painting origin. He is greatly influenced by Western expressive painting, and his painting style is different. His thinking about the contemporary nature of art and the construction of individual artistic language and pattern give me a strong and new feeling. Mr. Yu has visited some western cities, experienced different sceneries in foreign countries, tried to escape from the "comfortable" place in his familiar paintings, and made many innovations and breakthroughs in ink color composition. In the presentation of diverse themes and artistic languages, I saw the wonderful points different from western paintings. Language may create obstacles to some extent, but art and emotional communication are borderless. Mysterious and great China has many excellent artists who create a large number of unique and charming works. Mr. Yu's unique artistic expression and very attractive imagination make people enter into one. New fields and perspectives

Comment on Emmanuel Renoir, President of Reynolds Art Foundation, Franc

I am very honored to be invited to attend the first International Art Exhibition in Beijing, China, planned by Mr. Yu Runde. Through this 50-year International Art Exhibition, we have established friendship, deepened our understanding and witnessed the unique expression of Mr. Yu Runde's works. From his paintings, we can clearly feel the spirituality of the blending of Eastern and Western cultures, especially Chinese culture, which can be constructed in its own artistic language breakthrough and unique expression of ideas. I am amazed by the extensive exploration and experimentation of Chinese artists'paintings, their broad horizons and many reflections on art, their thoughtful expressions and pictures on canvas. Mr. Yu said that he would hold a personal painting exhibition. Artists and art lovers would enjoy the feast together. I am sincerely pleased with his achievements and wish the exhibition a complete success.

Comment on Noel Coret, Chairman of Autumn Art Salon in Paris, France

Together with our Paris Autumn Art Salon, the Renoir Foundation is honored to be invited to participate in the first Beijing International Art Exhibition, sponsored by the Beijing Municipal Cultural Resources Office and curated by Mr. Yu Runde. In this exhibition, I have a new understanding of Chinese painting. In Pompidou, Paris, a large number of modern works of art from all over the world are exhibited every year. We also see more and more excellent works of Chinese artists. Similarly, at the first China Beijing International Art Exhibition, I saw Mr. Yu Runde's paintings. I can say that he is a Chinese artist who I appreciate very much. His works have strong visual impact, rich imagination, light and dizzy, and do not lose their weight, calmness and diversification of art. Language gives people a sense of novelty and a wonderful artistic enjoyment. I hope Mr. Yu's paintings will be seen by more people at home and abroad. I sincerely invite Mr. Yu Runde to have the opportunity to join our Paris Autumn Art Salon. I wish Mr. Yu's painting art exhibition a success.

Yu Runde-A Review of Self-Art

Care in the sense of humanity, society and life is not only the spiritual expectation and value orientation of contemporary artistic creation, but also the only way for every contemporary artist to survive and develop.

For me, I adhere to the original artistic ideal and artistic state, highlight the artistic characteristics of self-otherness, heterogeneity and otherness, try to metaphorize the problem of individual sensibility and reflection in the works, and strive to make the works present more diverse artistic experience and characteristics, more in-depth and heterogeneous spirituality, gradually. It forms multiple aesthetic dimensions beyond the signifier of alienation and temptation.

In terms of aesthetic connotation and Ideological Expression of the works, it emphasizes and expresses the personalized side with the individuality of Chinese humanistic spirit, so as to highlight it. It attempts to make the viewer independent of painting and reality through a familiar sense of strangeness, resulting in an artistic indifference and alienation-contemporary society and people and their hearts. Normal and situation. It makes the traditional national vocabulary and aesthetic orientation merge and reconstruct in the collision with contemporary culture, and endows it with deeper humanistic and contemporary spiritual values.

In the uncertain present, the present situation of existence and cultural context, the complex relationship between contemporary life and historical tradition, knowledge production and physical experience, as an artist, I try to make the artistic ontology language appropriate through constant experiments and bold explorations by inheriting my long-standing artistic language and contemporary thinking concept. In the impact of contemporary cultural ideas, integration and reconstruction can be achieved, regeneration can be achieved and presented.