陈永乐，男，1944年生于重庆，浙江奉化人氏，擅长版画、中国画。曾在军队从事美术创作。中国美术家协会理事，中国版画家协会理事，厦门张雄书画院艺术顾问，云南省美术家协会原常务副主席、秘书长。云南省文史研究馆馆员。主要从事版画、重彩画、水墨画创作，1982年后任云南省群众艺术馆美术室主任、云南省美术家协会，副主席、秘书长、国家一级美术师。

作品曾多次到美国、德国、英国、法国、日本、泰国、比利时、奥地利、澳大利亚、韩国、中国台北、香港等国家和地区展出，出版有《陈永乐画集》、《当代名家陈永乐现代重彩画精品集》。作品多为中国美术馆、江苏美术馆、鲁迅美术馆、陕西美术馆、四川美术馆、北京民族文化馆以及日本相森町美术馆收藏。几次被中国美协聘为全国美展作品批选委员会委员。

 云南的西双版纳以绮丽的景致和独特的人文背景吸引着众多的艺术家，那里清新悠远、平和融洽的氛围是艺术家探寻形式、抒发情怀的“桃花源”。20世纪80年代初曾在全国美术界引起震动的云南重彩画派就诞生于此。陈永乐就是这一画派的代表性画家之一。

在陈永乐的绘画世界里，画家将人生体验、生活理想融入宁静有序的形式语言中。他善于用繁密的意想结构画面，形成凝滞庄重的视觉效果。在冷峻规则的造型背后隐含着画家对那方水土那方人的深爱。云南浓郁的民族风情风格赋予众多画家强劲和旺盛的创造力，他们常用丰富的色彩和优美的线条表现迷离斑斓的世界。陈永乐有别于其他画家的一个突出特色，在他有着更深的本土性。他将五光十色的现实世界以稚拙质朴的造型和线条还原为一种充满原始色彩和宗教意味的绘画样式，超脱于缤纷世界而直接捕捉到适合自我气质和自我理解的那部份特征，来揭示和表现出云南这块美丽、丰富、神气土地的神秘性和诱惑里。

陈永乐的人物具有典型的装饰意味，古埃及和中国民间绘画的古拙交替划过画家心灵的轨迹，在此得以融会。它不以突出个性形像为目的，而是强调整体的“势”，追求符号化和典型性。从构图看，人物占了三分之二的位置，三分之一的空间是在密密匝匝的线形结构中错落有致、疏密得当地“排”满那些古老的村寨、纺车以及花叶枝藤，图腾般散射出民族文化的光芒。画家利用富于生活气息和形式美感的饰物完成具有象征和暗示意义的铺陈，以此引导观者进入他营造的宗教般的画面氛围中。陈永乐的重彩画不追求朦胧含蓄，而是求取近乎平面化的空间处理，充满饱和，别具气势，有类似浮雕式的庄重和民间绘画的质朴。这些已完全成为生活与艺术、人与自然及社会融为一体的精神符号，它们如一组组美好的音符跳动，在质朴中透着优雅清丽的意蕴。

不同类型的线条有缀不同的性格。线条的独特运用在陈永乐的重彩画中是完成原始古朴格调的又一重要因素。工笔画勾线历来以遒劲和流畅为审美的高标准。陈永乐饶开此道，独辟蹊径，线在生涩平淡中，显出随意和厚实的原始意味，以此彰现画面整体的气韵追求。

陈永乐版画作品

 1961年 在部队从事美术创作和辅道工作

1963年 从事艺术创作

1965年发表第一幅作品《激流》

1978年 作品《战地》入选中国全军版画作品展

1979年 作品《英雄赞》入选庆祝全军十周年全国美展

1980年版画《英雄赞》入选全国美展优秀作品奖

1984年作品《织》获第六届全国美展铜质奖

1984年作品《孔雀之歌》入选《第六屇全国美术优秀作品展》

1986年 作品参加澳洲举办的《云南版画展》

1987年 调中国美协云南分会主持工作，三级美术师

1987年 作品参加在日本举办的《中国现代版画展》及《云南版画新作展》

1989年版画《银果》获第七届全国美展铜质奖。

1990年《银果》获日本中国版画创作基金会金质奖，作品为东京都町田立国际版画美术馆收藏

1992年 作品参加《92欧共体艺术节美术作品展览》

1992年 作品参加美国南海艺术中心,中国美协举办的《中国云南重彩画展》及荷兰《云南六人现代重彩画展》

1993年 4月在比利时举办个展

1993年 6月在德国举办个展

1993年 12月作品参加在香港的《中国优秀画家作品展》

1994年作品《甜甜的水》获第八届美展优秀作品奖

1995年在香港举办个人画展

1997年在英国伦敦举办个人画展

1999年作品《乡音》获第九届全国美展优秀作品奖

 Chen Yongle, born in Chongqing in 1944, was born in Fenghua, Zhejiang Province. Mainly engaged in printmaking, heavy color painting, ink painting creation. He has been engaged in art creation since 1963. In 1965, he published his first work, Rapids. In 1980, the printmaking "praise of heroes" was selected as the National Art Exhibition Excellent Works Award. In 1984, the work "weaving" won the bronze prize of the 6th National Art Exhibition. In 1989, the printmaking "Silver Fruit" won the Copper Prize of the 7th National Art Exhibition. The following year, Yinguo won the gold medal of the Japanese Chinese Print Creation Foundation. The works are collected by the Tokyo Tokyo Tokyo Tokyo Tokyo Tokyo International Print Art Museum. In 1994, his work Sweet Water was awarded the Excellent Works Award of the Eighth Art Exhibition. In 1999, the work "Country Voice" won the excellent works award of the Ninth National Art Exhibition.

Chen Yongle, male, born in Chongqing in 1944, is a Ren's family in Fenghua, Zhejiang Province. He is good at engraving and Chinese painting. He was engaged in art creation in the army. Director of China Artists Association, Director of China Printers Association, Art Consultant of Zhangxiong Academy of Calligraphy and Painting, Xiamen, Former Executive Vice-Chairman and Secretary-General of Yunnan Artists Association. Librarian of Yunnan Provincial Literature and History Research Library. Mainly engaged in printmaking, heavy color painting, ink and wash painting creation, after 1982 as director of the Yunnan Mass Art Museum, Yunnan Artists Association, Vice-Chairman, Secretary-General, National First-Class Artists.

His works have been exhibited in the United States, Germany, Britain, France, Japan, Thailand, Belgium, Austria, Australia, Korea, Taipei, Hong Kong and other countries and regions for many times. He has published Chen Yongle Painting Collection and Chen Yongle Modern Painting Collection. Most of the works are collected by China Art Museum, Jiangsu Art Museum, Lu Xun Art Museum, Shaanxi Art Museum, Sichuan Art Museum, Beijing National Culture Museum and Japanese Xiangshending Art Museum. Several times, he was appointed as a member of the National Art Exhibition Work Selection Committee by the China Association of Fine Arts.

Xishuangbanna, Yunnan, attracts many artists with its beautiful scenery and unique humanistic background. The fresh, distant, peaceful and harmonious atmosphere is the "Peach Blossom Source" for artists to explore forms and express feelings. In the early 1980s, the Yunnan Heavy Colour Painting School, which had caused a tremor in the national art circle, was born here. Chen Yongle is one of the representative painters of this school.

In Chen Yongle's world of painting, painters integrate life experience and life ideal into a quiet and orderly formal language. He is good at using dense imagery to construct pictures, forming a dull and solemn visual effect. Behind the cold and regular shapes, there is a deep love of the painter for the people of the land and water side. Yunnan's rich national style endows many painters with strong and vigorous creativity. They often use rich colors and beautiful lines to show the world in a blurred and colorful way. Chen Yongle is different from other painters in a prominent feature, in which he has a deeper indigenous. He restored the colorful real world to a painting style full of primitive colors and religious meanings with naive and simple shapes and lines. He transcended the colorful world and directly captured the characteristics suitable for self-temperament and self-understanding to reveal and express the mystery of this beautiful, rich and spiritual land of Yunnan. Sex and temptation.

Chen Yongle's characters have typical decorative meanings. The ancient and clumsy alternation of Egyptian and Chinese folk paintings crosses the track of the painter's soul, and can be merged here. It does not aim at highlighting individual image, but emphasizes the overall "momentum" and pursues symbolization and typicality. From the composition point of view, the characters occupy two-thirds of the position, and one-third of the space is scattered in the dense linear structure, which is delicate, dense and "row" all over the ancient villages, spinning wheels and mosaic vines, totemically scattering the light of national culture. The painter uses ornaments rich in life and form aesthetics to complete the display of symbolic and implied meaning, so as to guide the viewer into the religious atmosphere he created. Chen Yongle's heavy-color paintings do not pursue obscurity and implicitness, but seek nearly planar space treatment, full of saturation, unique momentum, with a solemnity similar to relief and the simplicity of folk paintings. These have become the spiritual symbols of life and art, man and nature, and society. They are like a group of beautiful notes beating, with elegant and beautiful implications in simplicity.

Different types of lines have different personalities. The unique use of lines in Chen Yongle's heavy-coloured paintings is another important factor to complete the primitive style of primitive simplicity. The delineation of Meticulous Brushwork has always been based on vigor and fluency as a high aesthetic standard. Chen Yongle opens this way, pioneering ways, lines in the astringent and insipid, showing a random and thick original meaning, in order to show the overall charm of the pursuit of the picture.