Workshops & Classes
Art Appreciation: FAMILY
Art Appreciation: AGES 7 - 17
Art Appreciation: AGES 18 and up
Orchid Consulting’s Art Appreciation workshops are created as an introduction to the world of fine art. We will learn to look/observe, sketch, draw and copy with pencil, pen and charcoal significant and historical pieces of art. We will also research, study and explore the artist’s background as well as the history of the art piece. Our overarching objective for all of these workshops is to…
WORK AS A COMMUNITY AND THINK INDIVIDUALLY!
These workshops are dedicated to bring families together, which we all know brings communities together.
We will work together. Read together. Feel/Touch and use things together. Explore together... And most of all be together!
Workshop Time: Half an hour/30 minutes minimum.
Private Classes for ages 18 months to Adults are available too! It will be a dedicated curriculum created for the patrons. All consultations are free.
These workshops and classes are dedicated for students to explore important artworks from various eras and genres, so that they can choose and study for themselves what type of art interests them. In class we will read, look, feel and even move around to study artworks.
Workshop Time: Three hours minimum.
AGES 18 and Up
These workshops and classes are focused on specific artists and their works. We will discuss, study, sketch, and draw the artist's artwork(s) and herself/himself. These classes are designed to give you inspiration and a better understand of the world of fine arts.
Class Time: One and a half hours minimum.
Father of Chinese Cubism
These artist ripples of influence have encircled the globe as a result of travel, traveling exhibitions and study aboard. It is not difficult to see, for example, in the 1980s paintings of the distinguished Taiwanese artist Ku Ping-Hsing, on display at the Taiwan Museum of Art, echoes of Cezanne, Feininger and the Futurists (Taiwan Museum of Art 1991). Yet Ku’s work also reflects that island’s modern art tradition, its timing, its relationship to the West, and more deep-rooted Chinese philosophies which shape technique, style and subject — as well as relationship between master and student — rather differently. A European seeing this art for the first time cannot help but think he or she has entered an alternative configuration of reality; not a world of copies but of other imaging.
National Museums: New Studies from Around the World
Edited by Simon Knell, Peter Aronsson, Arne Bugge Amundsen
First published simultaneously in USA and Canada, 2011 by Routledge
Excerpt — Page 16 by Professor Simon Knell
Professor of Contemporary Museology at the School of Museum Studies, University of Leicester, UK
Recently, I had the privilege and honor to review a selection of KU Ping-Hsing’s paintings, clearly illustrating without exception, his personal feeling and purpose as an artist. According to Ku Ping-Hsing, the purpose of his work is not to represent emotion, but to transcend it. Emotion for Ku Ping-Hsing is the seed, and his paintings are the blossom. His compositions have the unique quality to project poetic moods with the most elementary devices of representation. A more important aspect of his painting not to be overlooked is the manner in which he illustrates so clearly his adaption of conventional Chinese format to his own expressive purposes, with color being his prime ingredient.
In his work, I find the rendering of truth in sensible visual form. Most important is the visual truth realized through the interpretation of the human experience. All of his paintings have the fresh quality of something just being born. For example, his use of subtle lights and shadows, the nuances of tones, and the most intricate harmonies, all of the qualities necessary in attaining an atmosphere of a fresh kind of perception. Truly, his pictorial expressions are a new fact of aesthetic experience.
Individual expression and color marks the works of Ku Ping-Hsing. In all of his paintings, the colors are the basic element, fresh, vivid and forceful without shouting at you. The color run into one another, which suggests earth, water and sky. The rich, smooth, soft surfaces will hold one’s attention, where the color moves fluidly, and odd light plays along, with reflections of light overlaid in pastel and geometric character. To some degree, Ku Ping-Hsing paints strange, symbolic pictures, yet the statements are visually clear. The pictures contain simplified, distorted forms that arrange themselves into patterns of great color masses. In his use of deliberately divided or broken hues, Ku Ping-Hsing creates optical mixtures or blends which modify or heighten the intensity of specific color in his compositions. The effect resulting from these divisions and mixtures is to add a deeper dimension in his work.
Ku Ping-Hsing’s longstanding interest in Eastern religion and philosophy may account in some measure for the spiritual harmony that prevails in all his work. Ku Ping-Hsing’s paintings resemble in some ways those of William Blake, (1757-1827), the first English Romantic and one of the most totally original geniuses in the history of art.
Blake was a forerunner of the Romantic movement and a lone experimenter in artistic expression. Similar to Blake, Ku Ping-Hsing’s paintings are the result of an inner vision expressed in pictorial form; they are also deeply imaginative, and they somehow transcend the actual meaning of his statements. Ku Ping-Hsing’s sence of design is in all cases strong.
His large, richly worked painting, speak eloquently of the artist’s efforts to reconcile tradition with modernism. The work if full of energy and emotional impact; his large oils are especially forceful. Fluid, calligraphic line is used with considerable verve to depict forms that blend Oriental and Western sensibilities. Every detail has been introduced as an image of nature’s fecundity, and the color is more the expression of and inner sensation of golden nature than anything that might actually meet the eye.
I find Ku Ping-Hsing’s work independent of any specific movement in Modern Art, and like Blake, somewhat of a visionary artist. Michelangelo said, “Every beauty which is seen here below by persons of perception resembles more than anything else that celestial source from which we all come.” Ku Ping-Hsing’s work is of such beauty, like a fruit which we look at without trying to seize it.
Edward J. Manetta
Department of Fine Arts.
St. John’s University
Professor Manetta was also a dear friend of Professor Ku Ping-Hsing.
MODERN PAINTING BY KU PING-HSING
The work of Ku Ping-hsing touches the sensitivity and understanding of both Easterners and Westerners. It is most unusual that one artist paints superbly in both traditions, independently, as well as being able to incorporate technical aspects or subject matter of one with the other. The juxtaposition of the two traditions in a single artist astonishes and amazes the viewer.
Ku paints traditional Chinese flower compositions, vast Landscapes, and intimate corners of nature in the styles of various masters of the past. The monochrome ink works have the purity, the simplicity, the dexterity and mastery of line of the greatest masters. The brush work is sure, inventive, suggestive, delicate or powerful as desired. Vast distances are subtly suggested, or intimate details revealed in these monochrome works. The purist could ask for nothing more.
In color, the works vary from blue-and-green compositions relating to the earliest Chinese painting, to later styles where seasons of the year, feelings, atmosphere, and nature are evoked with rich color. Brilliant accents of color occur in the early plum blossoms; lush richness of color explodes in chrysanthemums. The color is not Renoir’s color, however; they would never be confused with Ku’s colors.
And then, in a dramatic shift, Ku paints dramatic, tense, contemporary cubist works that reveal a thorough understanding of the accomplishments of early 20th century French painters. Architecturally inspired works shatter, fragment into flat planes, and are then reassembled into powerful, architectonic works. With no outside identifying clues, any viewer would insist they were painted in New York or Paris. But Ku’s works are a fascinating variant on a theme in Western art since 1912; they are unique and special, and yet part of a tradition.
Watching Ku work reveals the contrast between the Easterner and the Westerner and also Ku’s special strengths. Whereas a Western painter carefully sketches out such a work and often uses the aid of a straight edge for crisp outlines, Ku demonstrates his virtuosity with the brush. The powerful faceted cubist works are laid down directly with no preliminary sketches. The whites of windows and sky and openings are the natural white of the paper untouched by brush; the sharp edges of the architectonic forms result directly from the firm brush stroke. Space and depth are present, perceptible, but carefully controlled and very different from the space of a traditional Chinese landscape. In other works in a Western style Ku opens up space in the atmospheric, linear method going back to the Italian Renaissance. His technique and style here are as sure and confident as in the Chinese landscape.
Ku’s work is important for several reasons. His paintings rank among the finest of contemporary Chinese and Western works, rich and valuable in themselves and fully able to stand alone. Beyond that his works recall the styles of the greatest Chinese painters of the past in a homage which is integral to the history of Chinese painting. Lovers of art and students can learn a greater appreciation of the past by studying and enjoying Ku’s paintings. Ku also demonstrates that it is possible for an artist to bridge the differences between major traditions without sacrificing either one; as a matter of fact, each is richer for the broader understanding. Finally, Ku is a master teacher. From my perspective as a Western teacher, Ku dynamically, clearly, and with rich articulation demonstrates to Americans what a Chinese painting means and then what a Western work means. Suddenly, in a way never before made available to them, these Westerns/Americans gain a greater appreciation of their own as well as a real, solid, and true aesthetic appreciation of traditional Chinese painting.
Ku Ping-hsing represents a remarkable phenomenon in our time and an artist whose works will have lasting value and provide pleasure for generations of viewers. Taiwan and America are fortunate to share his work and his teaching.
Dr. John J. Buschen
Chairman, Art Department
University of Wisconsin