吴强毕业于中央工艺美术学院装潢系并留校任教（现清华美术学院），现为清华大学吴冠中艺术研究中心的研究员。

吴强从艺半个多世纪，致力于中国画的创新和新意象油画的探索。习古开新、中西合璧，在水墨与油彩之间游走，不拘一格的表现方法并夹杂着东方的神韵。吴强先生作为新意象绘画的开拓者，从他的作品风格上可以看出，他并不一味的追求写实，也并非全然抽象，在有形与无形中力求象外之象，这正如他本人常说的“象外自有象悟”。其作品传神自然、悠然逸趣，洋溢着作者对生活意象的感悟和表达。基于东方文化的滋养创建新意象绘画的独特风格，无论在构思上还是表达的技巧上可以看出吴强先生在新意象绘画的实践探索的成果。

吴强先生以当代人的意识去体察时代精神，以独特的笔墨意象来展示现代人的审美心境。这些充满东方意韵的绘画作品无不透析着作者对生活的无比热爱，对艺术探索与创新的无比执着。

 2005年《第一届美国休斯顿艺术奥运展》获金奖；

2004年《台湾奥运纪念杯书画邀请赛》创新奖；

2001年《海纳百川——香港回归四周年作品邀请展》荣获铜奖；

1999年荣获“国际水墨画杰出创作典范奖”《中国画报》专版向海外介绍；

 1959出生于陕西省宝鸡市。

1979就读于中央工艺美术学院（清华大学美术学院）毕业后留校任教。

1997《吴强水墨画集》出版（云南美术出版社）。

1998在加拿大维多利亚及温哥华举办个人作品展，维多利亚美术馆收藏。

1999吴强水墨作品展（台湾中华收藏家协会）；荣获“国际水墨画杰出创作典范奖”；《中国画报》专版向海外介绍。

2000吴强作品展（北京国贸实华开空间）。

2001《海纳百川-香港回归四周年作品邀请展》获铜奖。

2002作品参加上海艺术博览会。

2003高等院校名师美术作品邀请展（中国美术馆）。

2004《台湾奥运纪念杯书画邀请赛》获创新奖。

2005《第一届美国休斯顿艺术奥运展》获金奖。

2006作品被收录《中国著名书画家四条屏作品集》（人民美术出版社出版）；作品被收录《青城藏宝》，四川美术出版社出版；出版《吴强国画小品》《见贤思齐吴强临摹古代经典》；《艺术收藏》刊登“红酒情韵”系列油画。

2007吴强作品展（烟台美术馆）；英、法、意举办个人作品巡展，英国《星岛日报》、意大利电视台相继报道；作品参加《中韩文化艺术交流会》；作品参加中国艺术博览会；2008作品在英国伦敦维多利亚&阿尔伯特(V&A)博物馆展出；《艺术收藏》刊登作品并报道赴英展况；吴强-笔墨意象（北京经典太和画廊）；“时代之美-意象万千”吴强作品展（呼和浩特展览中心）。

2009参加马来西亚槟城国际百名艺术家作品展。

2010东方唯美画派-两岸名家油画作品展（北京亿象空间画廊）。

2011和玄—两岸名家作品展（北京时代美术馆）；《星·艺术》刊登“地蕴天成”系列油画；意象开天—吴强油画作品展（798桥艺术空间）。

2012两岸名家抽象艺术展（天津艺库六号院）；生活意象—吴强国画小品展（天津津台书画苑）。

2013中日现代精锐书画家展（日本京都文化博物馆）；第二届海峡两岸东方唯美画派抽象艺术大展（台北国父纪念馆）；西安中法文化交流展（西安陶艺博物馆）。

2014象·外—吴强行走日记（北京太和艺术空间）；法国克吕尼吴强水墨艺术展（克吕尼法中交流协会）；CHINESERECORDS华人志2014巴黎艺术展（法国巴黎印象画廊）；第二届“仓颉碑”中国文字艺术国际展（巴黎欧洲时报文化中心）；WORLDWIDEARTLOSANGELES（美国洛杉矶展览中心）。

2015首届海峡两岸当代名人书画展（台北圆山大饭店）。

 奚静之（清华大学美术学院教授）

——摘选自《内心的印迹——吴强的水墨画》

吴强近几年的作品，在重视传统笔墨功力的同时，力求使水墨具有现代性。他作画时，常常对着辅好的白纸。调动平时积累的经验与印象，使它们在互动交流中自然地凝聚于画面。形与色，点与线、或柔和、或遒劲逐渐出现；黑和白，虚和实也便如韵律般有节奏地相互交响，为了加强画面的表现力，他近年的作品在大写意画面上“引起”了镏金技法，使画面增添辉煌与厚度更具有时代气息，而传统的墨与色仍然在其中生机勃勃地展示自身的风采，在他笔下大千世界似具有了生命。吴强创作的画面，有的较为抽象，有的较为具象，但都是他内心的印迹，是他“自然意象”的表达。吴强自己说：“作品中象与不象，所谓写实与抽象，是我不同心境的真实记录。不管哪种境界都应是由表及里，迫其事物的内在表达。在具备手头表现能力和画韵探求的同时，更重要的是对自己心灵美感潜能的挖掘，那种来自我内心的美，进入了如此境界就不再受自然事物形象所困惑，自然将心灵脉搏的跳动中那最激动、最感人的东西记录下来，传达给观众共同分享，也是我人生中最愉快的事。”

吴强作画，是把自己心里的那份对真、善、美的真诚，呈献出来，让人们在需要心情抒缓的时刻，得到精神上的抚慰。

杜大恺（清华大学美术学院教授）

——摘选自《吴强水墨画集》前言

吴强，陕西宝鸡人，少年时即耽迷艺术，东寻西觅，广学众长，一九七九年考入中央工艺美术学院，主修装潢艺术设计，成绩优异，毕业后留校任教，又因乐于实业，离开学校，创建北京展视会社，奋斗十几年，在同业中已卓有声誉。

艺术与设计，同宗而有异，互为因果。设计趋近社会，功利的得失直接而实在：艺术则偏向虚渺，其间的快乐含蓄而内敛。艺术与设计于吴强或时有轻重，而两相融合，长短互补，固而乐此不疲；且艺术与设计，思维与表述的方式或有不同，将此用于彼，将彼用于此，

更常有意外的表现。固而乐此不疑。

吴强画山水，亦画花卉。应是乡情所系，故其山水多以哺育他生长的黄土高原为题，点划间每见石鲁、赵望云、何海霞诸家笔意，抹不掉长安画派的韵致。长安画派五十年代曾风风火火于中国画坛，其浑厚坦露的风格，与贴近生活的现实性，仍影响着今日的中国画坛。

吴强画花卉似是另一番情景，其笔下的梅与荷均呈冷峻清冽的样式，牡丹与菊花则幡然有别，性近乎花而丰腴瘦俏不一，足见其情趣的多样性。花卉之道，是一险途，白石之后，无出其右者。

吕中元（中央美术学院教授）

——摘选自《文化与审美的新意象水墨——读新意象的开拓者吴强的近作》

我与吴强在美院学府同窗四载，他的勤奋执着以及对美的追求早在30年前便显露出来。中国的传统水墨讲究“外师造化，中得心源”。吴强的水墨作品，灵性极高。寥寥几笔，便能勾勤出大自然的神韵，他的审美源泉，来自于大自然的感召，来自于无数次的艺术实践，来自于永不满足的对自然的细心观察和别出心裁的艺术探索。

吴强有着坚实的绘画基本功，画什么象什么。但他又不满足于客观地再现物象世界，技法的锁链永远也无法囚住他那颗求新求变、勇于探索的心。他的作品从传统绘画、西方现代画派、古代书法以及现代设计中汲取营养。他在探索着完美的艺术表现形式，他在寻觅着美感的秩序。

历代书法中的审美结构规范了吴强的画面构成。现代设计中的材料运用，丰富了他笔端的语言。于是，以吴强为开拓先锋的新意象水墨形式在他的笔下日益清晰、日益实在、日益扩展开去……

吴强的新意象水墨绘画观念，是站在中西方绘画的两个不同的历史背景下提出的。吴强通过对中国传统绘画的艺术实践以及对西方现代画派的艺术实践，使他深刻体会到中国的绘画是以写意为主脉的。这是在中国绘画的一个精华。中国绘画可以把冬天的梅花，夏天的牡丹画在一起，完全打破具体时空的局限，这是心里的一种意境。吴强认为：中国绘画的主要精华就是用心灵创造出的写意作品。

它直接源自于自然，它是观察自然和表现自然结果，它是用心而非用眼睛去写生。

神似，是中国绘画里的一种精神。我们要继承它、发扬它。为此，吴强提出了新意象绘画。作为一个艺术家应该掌握时代的脉搏，而吴强提出的新意象绘画的理念正是抓住了时代的审美需求、美是需要发现的、美是需要再创造，要用心去观察生活、用心去体验生活、用心地感悟生活。吴强还认为：在艺术实践中发现美的规律，不管是透过写实的手法还是抽象的手法，它都是通过美的形式法则进行表现的。而能把这种美的规律抓到，实际上就是说这种好的形象或者美的形象是一种意境，是画家体会出来的。再透过画面这个媒介传递给观众，观众又产生各种各样的新想法和新感受，最后达到一种全新的意境。

曾辉

——摘自《由意象而写意，从体验到体悟——吴强的新意象国画分析》

如果说，吴强作为现代中青年画家，也踏上了一条中国画继古开今的探索之道，我认为他更看重于林风眠的探索之路，并探究朱德勤和赵无极的画意，将其彩墨画吸纳印象派的光色、立体派的构成、汉唐壁画的情趣、青花线绘的笔韵，把他的自然体验融入“情绪化”的诗意表现中。也正如林风眠对中西艺术之分析：“西方艺术，形式上之构成倾于客观一方面，常常因形式之过于发达，而缺少情绪之表现。东方艺术，形式上构成倾于主观一方面，常常因形式过于不发达，反而不能表现情绪上之所需求，把艺术陷于无聊时消遣的戏笔”。此语不乏偏激，却道出东西方艺术的融合之取向。

吴强近两年来“笔峰一转”，强调“我的画是自然意象的表达”，恰恰表达了一种现代人思维中的中国画精神，在把艺术触觉伸向西方艺术吸纳融合之后，又回归中国画之本体，用“不守笔墨之法”的笔墨来传达来自内心美，来自不同心境的意象之美。把愉悦的感觉和真切的情绪毫无掩饰地传递给观者，共享生命的真实体悟，形成视觉的情感共鸣，这是不易达成的意境。可以看出，吴强在努力寻求这种自然流露的心灵互动，尽管这种寻求过程有时是愉快的，有时也是痛苦的，但他尽可能把愉快的感觉呈献出来，或许意图以此融化沟通现代人的精神隔阂。观其画，传播着一种意境，把观者的思维引入对自然的重新审视和领悟之中，从而改变人们的思维定势和审美模式，的确是一种难能可贵的探索。

娄述泽(加拿大A&A画廊总经理)

气韵为中国画之圭臬，中国画“缘物寄情”，吴强的作品充满生活，充满情趣。他笔下之山川江河、鸟虫花卉皆生气盎然，即古茂又清新，有传统之根而无泥古之痕。

现代科学技术的发展一日千里，触及人类生活的各个层次，包括绘画和设计。吴强脚踏实地的创立北京展视会社，在商业美术设计领域内将绘画与工艺和电脑结合在一起，学以致用，为经济建设服务。能够在美术绘画和工艺设计两个领域内驾轻就熟，挥洒自如而建树者不多，吴强自是其中佼佼者。

 Wu Qiang graduated from the Department of Decoration, Central Academy of Arts and Crafts and stayed at Tsinghua Academy of Fine Arts. He is now a researcher of Wu Guanzhong Art Research Center, Tsinghua University.

 

Wu Qiang has devoted more than half a century to the innovation of Chinese painting and the exploration of new image oil painting. It is a combination of Chinese and Western traditions. It walks between ink and oil paints. It has an unconstrained way of expression and an oriental charm. As a pioneer of new image painting, Mr. Wu Qiang, from his style of work, can see that he does not blindly pursue realism, nor is he totally abstract, and strives for the image outside the image in both physical and intangible, which is just like what he often said, "image outside the image has its own understanding". His works are vivid, natural, leisurely and interesting, full of the author's perception and expression of life imagery. Based on the nourishment of Oriental culture, the unique style of creating new image painting can be seen from Mr. Wu Qiang's practice and exploration of new image painting in both conception and expression skills.

 

Mr. Wu Qiang observes the spirit of the times with contemporary people's consciousness, and displays modern people's aesthetic mood with unique image of pen and ink. These paintings full of oriental charm dialyze the author's great love for life and his great perseverance in artistic exploration and innovation.

 

Art chronology

 

Born in Baoji City, Shaanxi Province in 1959.

 

In 1979, he studied at the Central Academy of Arts and Crafts (Academy of Fine Arts, Tsinghua University) and remained as a teacher after graduation.

 

1997 Wuqiang Ink Painting Collection was published (Yunnan Fine Arts Publishing House).

 

In 1998, personal exhibitions were held in Victoria and Vancouver, Canada. The Victoria Gallery Collection.

 

In 1999, Wu Qiang's Ink and Wash Works Exhibition (Taiwanese Chinese Collectors Association); won the "International Model Prize for Outstanding Creation of Ink and Wash Painting"; the special edition of "China Pictorial" was introduced overseas.

 

2000 Wuqiang Works Exhibition (Beijing International Trade Shihua Open Space).

 

In 2001, "Haina Baichuan - Invitational Exhibition of Works for the Fourth Anniversary of Hong Kong's Return" won the bronze prize.

 

Works of 2002 participated in Shanghai Art Expo.

 

2003 Invitational Exhibition of Famous Teachers'Art Works in Colleges and Universities (China Art Museum).

 

The 2004 Taiwan Olympic Memorial Cup Calligraphy and Painting Invitational Competition won the Innovation Award.

 

The first Houston Art Olympics in 2005 won the gold medal.

 

In 2006, his works were included in the Collection of Four Screens by Famous Chinese Calligraphers and Painters (published by People's Fine Arts Press); his works were included in Qingcheng Tibetan Treasures; and his works were published by Sichuan Fine Arts Press; his works were published in Wu Qiang's Painting Sketches, Wu Qiang's Copying Ancient Classics; and his works were published in the Collection of Art in the series of oil paintings of "Red Wine Charm".

 

2007 Wu Qiang Works Exhibition (Yantai Museum of Art); British, French and Italian individual works tour exhibition, the British "Singdao Daily" and Italian TV reported one after another; works participated in the "Sino-Korean Cultural and Art Exchange Conference"; works participated in the Chinese Art Exposition; 2008 works were exhibited at Victoria & Albert (V&A) Museum in London, UK. "Art Collection" publishes works and reports on exhibitions in Britain; Wu Qiang-ink image (Beijing classical Taihe Gallery); Wu Qiang's works exhibition (Huhhot Exhibition Center), "Beauty of the Times-Images of Thousands".

 

In 2009, he participated in the international exhibition of 100 artists in Penang, Malaysia.

 

2010 Oriental Aestheticism Painting School - Oil Painting Exhibition of Famous Artists on both sides of the Straits (Beijing Yixiang Space Gallery).

 

2011 Xuan-Taiwan Famous Artists Works Exhibition (Beijing Times Museum of Art); Star Art published a series of oil paintings of "Tiancheng in Geyun"; Image Beginning-Wuqiang Oil Paintings Exhibition (798 Bridge Art Space).

 

In 2012, famous artists from both sides of the Taiwan Strait exhibited abstract art (Tianjin No. 6 Academy of Art Treasury); Life Image - Wu Qiangang Painting Sketches Exhibition (Tianjin Jintai Calligraphy and Painting Court).

 

Exhibition of Chinese and Japanese Modern Elite Calligraphers and Painters (Kyoto Cultural Museum of Japan); Second Exhibition of Abstract Art of Oriental Aestheticism Painting School on both sides of the Taiwan Straits (Taipei Father Memorial Hall); Xi'an Sino-French Cultural Exchange Exhibition (Xi'an Ceramic Museum).

 

Image Wai-Wu Qiang Walking Diary (Taihe Art Space, Beijing); Cluny Wuqiang Ink Art Exhibition, France (Cluny Law Exchange Association); CHINESERECORDS Chinese Chronicle Exhibition, Paris Art Exhibition, 2014 (Impression Gallery, Paris); the second "Cangjie Stele" International Exhibition of Chinese Character and Art (European Times Cultural Center, Paris) WORLDWIDEARTLOSANGELES (Los Angeles Exhibition Center, USA).

 

2015 First Cross-Strait Contemporary Celebrity Calligraphy and Painting Exhibition (Taipei Yuanshan Hotel).

 

Celebrity Comments

 

Xi Jingzhi (Professor, Academy of Fine Arts, Tsinghua University)

 

—— Selected from "Inner Imprint: Wu Qiang's Ink Painting"

 

Wu Qiang's works in recent years, while paying attention to the traditional brush and ink skills, strive to make ink and wash modernity. When he paints, he often looks at the complementary white paper. Mobilize the experience and impression accumulated in peacetime, so that they naturally condense in the picture in interactive communication. Shape and color, dots and lines, or soft, or vigorous gradually appear; black and white, virtual and real also rhythmically interact with each other. In order to enhance the expressive force of the picture, his recent works "cause" the gold-picking technique on the freehand brushwork picture, which makes the picture more brilliant and thicker with the flavor of the times, while the traditional ink. In his works, the world seems to have life. Some of Wu Qiang's paintings are abstract and some are concrete, but they are the impression of his heart and the expression of his "natural image". Wu Qiang himself said, "The image and the unlikeness in the works, the so-called realism and abstraction, are the true records of my different moods. No matter what realm it is, it should be from the outside to the inside, forcing the internal expression of its things. At the same time, it is more important to tap the potential of the aesthetic feeling of our soul. When we enter such a state, we will no longer be confused by the image of natural things. We will naturally record the most exciting and touching things in the pulse of our soul and convey them to the audience. Sharing is also the happiest thing in my life.

 

Wu Qiang's painting is to present the sincerity of truth, goodness and beauty in his heart, so that people can get spiritual comfort when they need to express their slowness of mind.

 

Du Dakai (Professor, Academy of Fine Arts, Tsinghua University)

 

—— Selected from the Preface of Wuqiang Ink Painting Collection

 

Wu Qiang, a native of Baoji, Shaanxi Province, was an art addict when he was a teenager. He sought to learn from the West and from the east. He was admitted to the Central Academy of Arts and Crafts in 1979, majoring in decoration and design. He achieved excellent results. After graduation, he stayed in school to teach, and left school because he was happy with industry. He set up the Beijing Exhibition and Video Club. He has struggled for more than ten years and has been outstanding in his profession. It has a reputation.

 

Art and design share the same clan but differ from each other. Design tends to the society, the gains and losses of utilitarianism are direct and real: art tends to be illusory, while happiness is implicit and restrained. Art and design are sometimes important in Wu Qiang, but they are integrated and complementary in length, and they are always willing to do so; moreover, art and design, thinking and expression may differ in ways that apply one to the other and the other to this.

 

More often than not, there are unexpected manifestations. No doubt about it.

 

Wu Qiang paints landscapes as well as flowers. Should be related to the local conditions, so its landscape mostly feeds his growth of the Loess Plateau as the theme, between the dots see Shilu, Zhao Wangyun, He Haixia and other schools of thought, can not erase the charm of Chang'an School of Painting. Chang'an School of Painting was popular in Chinese painting circles in the 1950s. Its thick and frank style and reality close to life still affect today's Chinese painting circles.

 

Wu Qiang's paintings of flowers seem to be another scene. The plum and lotus in Wuqiang's paintings are both cold and clear, while the peony and chrysanthemum are quite different. Their sex is close to flowers, but rich and thin and beautiful, which shows the diversity of their tastes and interests. The way of flowers is a dangerous way. After the white stone, there is no one better than the right one.

 

Lu Zhongyuan (Professor, Central Academy of Fine Arts)

 

—— Selected from The New Images of Culture and Aesthetics: Reading the Recent Works of Wu Qiang, the Pioneer of New Images

 

Wu Qiang and I have been at the Academy of Fine Arts for four years. His diligence and perseverance as well as his pursuit of beauty began to show up as early as 30 years ago. China's traditional ink and wash emphasizes "the creation of foreign teachers, the source of inspiration". Wu Qiang's ink and wash works are highly spiritual. With a few strokes, he can delineate the charm of nature diligently. His aesthetic source comes from the inspiration of nature, from countless artistic practices, from never satisfied careful observation of nature and unique artistic exploration.

 

Wu Qiang has solid basic skills in painting, what to draw and what to look like. However, he is not satisfied with the objective reappearance of the image world, and the chains of techniques can never hold his heart of innovation, change and exploration. His works draw nourishment from traditional painting, western modern painting, ancient calligraphy and modern design. He is exploring the perfect artistic form of expression, he is looking for the order of aesthetic feeling.

The aesthetic structure of calligraphy in past dynasties standardized the composition of Wu Qiang's pictures. The use of materials in modern design enriches the language of his pen. As a result, Wu Qiang is the pioneer in the development of new image ink form in his writing increasingly clear, increasingly real, increasingly expanding...

 

Wu Qiang's concept of new image ink painting was put forward under two different historical backgrounds of Chinese and Western painting. Wu Qiang deeply realized that freehand brushwork is the main theme of Chinese painting through his artistic practice of traditional Chinese painting and western modern painting school. This is the essence of Chinese painting. Chinese painting can combine plum blossom in winter and peony in summer, completely breaking the limitation of specific time and space, which is an artistic conception in mind. Wu Qiang believes that the main essence of Chinese painting is the freehand brushwork created by the mind.

 

It comes directly from nature. It is the observation of nature and the expression of natural results. It draws life with its heart rather than with its eyes.

 

Similarity of gods is a spirit in Chinese painting. We should inherit and carry forward it. Therefore, Wu Qiang put forward a new image painting. As an artist, we should grasp the pulse of the times, and Wu Qiang's new concept of image painting is precisely to grasp the aesthetic needs of the times, beauty needs to be discovered, beauty needs to be recreated, to observe life with heart, to experience life with heart and to feel life with heart. Wu Qiang also holds that the discovery of the law of beauty in artistic practice, whether through realistic or abstract means, is manifested through the formal law of beauty. To grasp the law of beauty, in fact, this good image or beautiful image is a kind of artistic conception, which is realized by the painter. Then through the media of picture, the audience generates a variety of new ideas and feelings, and finally achieves a new artistic conception.

 

Zeng Hui

 

—— From "From Image to Freehand Writing, from Experience to Understanding: An Analysis of Wu Qiang's New Image Chinese Painting"

 

If we say that Wu Qiang, as a modern young and middle-aged painter, has also embarked on a way of exploring Chinese painting to follow the past and open up the present. I think he pays more attention to Lin Fengmian's exploratory road. He also explores Zhu Deqin's and Zhao Wuji's paintings, and absorbs the light and color of impressionism, the composition of cubism, the interest of Han and Tang murals, and the blue and white line painting. His natural experience is integrated into the poetic expression of "emotion". It is just like Lin Fengmian's analysis of Chinese and Western art: "Western art, in form, tends to be objective, often because of its over-developed form and lack of emotional expression. Oriental art, in form, is inclined to the subjective side. Often, because of its underdeveloped form, it can not express the emotional needs and trap the art in a play for amusement when bored. This is not without radicalism, but it shows the orientation of the integration of eastern and Western art.

 

In the past two years, Wu Qiang's "turn of the brush peak" emphasizes that "my painting is the expression of natural image", which just expresses the spirit of Chinese painting in modern people's thinking. After extending the sense of artistic touch to Western art, Wu Qiang returns to the essence of Chinese painting and uses the brush and ink of "not abiding by the brush and ink method" to convey the beauty from the heart. The beauty of images from different moods. It is not easy to convey the joyful feeling and true emotion to the viewer without concealment, share the true understanding of life and form the visual emotional resonance. It can be seen that Wu Qiang is trying to seek this kind of natural spiritual interaction. Although this process of seeking is sometimes pleasant and sometimes painful, he tries to present the pleasant feeling as far as possible, perhaps with the intention of melting the spiritual barrier of communicating modern people. Looking at his paintings, disseminating an artistic conception, introducing the viewer's thinking into the re-examination and understanding of nature, thus changing people's thinking pattern and aesthetic model, is indeed a valuable exploration.

 

Lou Shuze (General Manager of Canadian A&A Gallery)

 

Wu Qiang's works are full of life and interest. His works of mountains, rivers, birds, insects and flowers are full of vitality, that is, ancient and fresh, with traditional roots and no mud traces of ancient.

 

The rapid development of modern science and technology has touched all levels of human life, including painting and design. Wu Qiang steadfastly founded the Beijing Exhibition and Video Club, which integrates painting, craftsmanship and computer in the field of commercial art design to serve economic construction. Wu Qiangzi is one of the best artists in the field of art painting and craft design.