Section 2
The Pursuit of Realism: Macau Artist Society (1956 – 1985)
Before and after the founding of the People’s Republic of China, Macao welcomed many painters who had lived in the mainland (especially in Guangdong), thus creating a good foundation for the subsequent development of Macao oil painting. In 1956, with the establishment of the Macau Artist Society, gradually a group of painters focusing on realism emerged.
The Macau Artist Society (formerly known as the Art Research Association of Macao) presented the 1st Art Exhibition in 1956, its founding year. In addition to planning exhibitions, the Society actively organised Macao artists for sketching tours in the mainland and frequent exchanges with the Guangdong art circle. Fine art classes were also held on the premises of the Society, with senior artists such as Tam Chi Sang, Chio Vai Fu and Wong Man Tat. Later, pioneering artists like Kam Cheong Ling, Chen Xueshu, Chio Vai Fu, Wong Pui-kong combined teaching in their creative activities and deeply influenced many promising talents. As the older generation painters passed on their techniques, more and more realistic paintings emerged in Macao in the following period. The birth of these excellent works further reflected that artists in Macao, like those in mainland China, were more inclined to draw inspiration from real life when selecting creative themes. Nevertheless, we can still see traits of Impressionism in many paintings inspired by mundane themes.
This section showcases 41 oil and watercolour works depicting Macao sceneries, the Great Wall in Beijing, Lijiang river in Guilin, and Shanghai streetscape, through which the artists expressed their love and praise for motherland and nature. In his works, namely ‘Tin and Iron Mine in Kailuan’ and ‘Rice Aid from the Motherland’,
the Macao Artist Society founding president Lok Cheong features labour scenes and ordinary people, in a simple yet touching style. Skilled in watercolour, oil and Chinese painting, numerous painters of the Macau Artist Society often employed the three art forms, hence initiating the integration of Chinese and Western techniques.