4月23日至5月23日,詹姆士‧维吉维诺艺廊举办「法美两国名家小画展」(Small Paintings by French and American Masters)联展,参展〈少女〉(Little Girl)与〈婴孩〉(Baby)两件作品,全展共计24件,法国部份的名家包括梵谷(Vincent van Gogh)、布丹(Eugène Boudin)、雷诺瓦(Auguste Renoir)、乌依亚尔(Edouard Vuillard)、西尼亚克(Paul Signac)、优特里罗(Maurice Utrillo)、夏卡尔(Marc Chagall)、鲁奥(Georges Rouault)、罗兰馨(Marie Laurencin)等。
11月23日至12月,詹姆士‧维吉维诺艺廊「圣诞节联展」。
12月,在旧金山狄扬美术馆(M.H. de Young Museum)展览。
1952 3月中旬,参加为洛杉矶普特南基金会(Tracy J. Putnam Foundation)而办之联展。
在洛杉矶「农夫市场」(Farmer’s Market)当中,开起艺品店,店名为Farmer’s Market Art Gallery(「农夫市场艺廊」)。
10月,奥蒂斯艺术学院建校50周年绘画联展,由策展人自该校校友所提供391幅作品中,选出44位艺术家,一共50幅作品展览,陈荫罴以抽象织锦式的画风,入选两幅作品,一幅名为〈钟鼎文〉〈We Give Our Attention to Beautiful Poems〉、另一幅名为〈A Great Land is Made Better by Things Than Wealth),并获得500美金奖金。
1969-73 期间,曾应南加州帕撒狄纳美术馆(Pasadena Art Museum,即今之Norton Simon Museum)之邀,举办个展,展出50件抽象画作,展期一个月。受其启蒙之学生黄昌英曾以中文撰写〈陈荫罴导师画展观后展〉,文中特别指出:「此次画展作品,其特色是采用各体的汉字,如甲骨、竹简、钟鼎、篆、隶、楷、草、行各体,运用抽象技法,经过艺术加工,绘成一幅幅引人入胜的画。」
1981 1月9日与19日,应洛杉矶加州大学之「亚裔美国人研究中心」(Asian American Studies Center)与「南加州美籍华人口述历史」(Southern California Chinese American Oral History Project)计画邀请,接受Jean Wong以英文访谈。
9月24日至10月26日,旧金山州立大学(SFSU)在该校艺术系艺廊(Art Department Gallery)举办「新观点:建立西岸亚裔美国人的艺术史」策划展(With New Eyes: Toward an Asian American Art History in the West),共展出77位艺术家,总计100幅作品,陈荫罴作品亦在邀展之列,展出1940年代一幅少年的画像(Shy Boy in a Green Sweater);展中,亦有朱沅芷作品2幅。
1999 水晶大教堂成立一间作品专室,长期展出陈荫罴在1950年代创作的圣经系列作品。
2000 2月26日至3月21日,台北大未来画廊个展。
2005 7月19日至7月31日,上海美术馆个展。
2006 4月1日至4月20日,广东美术馆个展。
2007 旧金山狄扬美术馆联展。
预期展览
2008 洛杉矶郡立美术馆。
2009 洛杉矶,华美博物馆。
George Chang 1913-1995
Born in Guangdong’s Chungshan county, George Chann left for the US at the age of 12 with his father after completing middle school in China. In 1934, he entered the Aldiss Institute of Art in Los Angeles; in 1940, he earned his master’s degree in fine arts, holding his first solo exhibition the following year at the California Art Club in Los Angles. At the recommendation of Roland Mckinney, the curator of the Los Angeles County Museum, in 1942 Chen Yinpi held an exhibition at the Palace of the Legion of Honor in San Francisco. From 1947 to 1949, he lived in mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting, and in 1951 was showed with painters such as Van Gogh, Renoir and Chagall in an exhibition at the James Vigeveno Gallery. During the years from 1969 through 1973, 50 pieces of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum. Many of his works are currently in the permanent collections of various museums such as the Shanghai Art Museum, San Diego Museum of Art.
George Chann’s artistic career began in the early 1940’s with works in in primarily social-realist style. Reflecting his feelings about the inequalities and hardships around him in American society during World War Ⅱ, his paintings are suffused with a critical, compassionate humanism and concern for the good of the nation. Chann returned to China in 1947, delving into calligraphy studies for a time with the Chinese artists Huang Junbi and Zhao Shao-ang, while contact with the cultural environment and outstanding traditional works of painting and calligraphy encouraged development of a new Chinese modern painting style. Early in 1950, Chann successfully developed his essential black and white abstract approach in works with richly varied layers and textures, but which derived their inspiration from ancient artifacts and texts: the verdigris of corroded bronze, suggesting ancient civilization clouded in obscurity, or the spotty weathering of stone steles. Through the use of various media, Chann achieved raised surfaces with genuine textural feel and a unique abstract style in which the strength of traditional calligraphy and textural sources are voiced in a modern Chinese mode. George Chann’s late-period works, emphasizing variant Chinese character forms, are impressive for their exquisite, shifting colors and complex but rhythmic compositions. Their calligraphy, texts, and symbols have now undergone further abstraction and configuration, weaving through white lines and multi-colored composition like rhythmic notes of a melody.