非常怀念上海过去的优雅与时尚，上海的女子是这个城市一道亮丽的风景。今天的上海尽管仍然时尚，但不再优雅。你的画展示并重现了过去的上海，谢谢。
一 L L 上海烟草公司 
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My way of painting has changed over the years, influenced by European expressionists and cubists, but with a distinctive Shanghainese soul in the selection of themes. 
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自忠路黄宾虹，西城里张大千，淡水邨张充仁，黎锦晖，陶菊隐，徐郎西，南昌路林风眠，复兴路刘海粟，钱钟书，复兴坊何香凝，史良，丰裕里陶冷月，花园坊关良，思南路孟光，建国路汪亚尘，黄陂南路丁聪，叶浅予，张光宇，顺昌路上海图画美术院，也就是后来的上海美专…
常年往返在上海和欧洲，出生和成长在曾经的法租界，一张画桌就是流金岁月，周围有这么多海上闻人与绘画大师故居的陪伴，张大千，林风眠，刘海粟，黄宾虹，张充仁...... 还有无数的文人墨客，与这个生养我的城市好像一场跨越了几个时空的传奇异地恋，上海时刻在提醒我这个城市的苦难与精彩，距离产生的思恋使得灵感愈加浓烈。 这片法国人二十年代设计建造的著名街区，无数的闻人逸事传奇，吸引了众多游客和导演李安，而生活，远比影视更传奇。 |
“世界上有很多小镇，镇上有很多咖啡馆，你偏偏走进了我这一座。。。”。每个城市对于出生在那里又离开那里的人，都是日落的时分，遥远的影像间离后，如同身边的夕阳，晕染的温暖包围着，无边无际，相对而坐的咖啡袅袅上升，不急不徐。只是我们偏偏出生于又离开了上海，所以，习以为常的不经意中，看到鹭鸶的画和照片时，就寻着那种味道，走进了她的咖啡馆。关于上海，鹭鸶画过一些女子，三十年代的优雅，看不到的脸，即便有，我也看不到，喜欢的是那些色彩和韵律及其背后的“感觉”。很不张爱玲的说，与其欣赏旗袍静止在沉香中，不如看她在城市中隐形的施施然；
文/JYSL |
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上海的早晨
想起老早月份牌里的人, 看着她们每每都要耳环高根鞋一只也不能少，不禁有了替她们松一松行头的念头，早上起来，推开窗望出去，天却是蓝的，对过的男人在自家嗮台上做广播体操，再往上头看，有女披头散发着地在刷牙，楼下地阿姨仍旧在报天气，收旧货的人在弄堂里穿梭着一遍遍地叫卖，是不用自己喊地了，于是在脚踏车前头装个喇叭，换作了电子叫卖，欧，我们是在二零零捌，她拉拢了下睡衣，那上面残留地分明还是夏日的色彩，墙上地时钟在“ 嘀嗒”“ 嘀嗒”，脚尖在地上划了一圈又一圈…… |
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中华全国艺术协会 民国12年(1923年)9月建。事务所设于蒲柏路(今太仓路)东方艺术研究会内，由该会周勤豪、创造社郭沫若、成仿吾、郁达夫等筹组。
漫画会 民国16年丁悚、黄文农、张光宇、叶浅予等发起。会址设于贝勒路恒庆里(今黄陂南路847弄)9号。为中国最早漫画团体。次年4月，创刊《上海漫画》周刊。
中国左翼美术家联盟 民国19年在环龙路(今南昌路)马斯南路(今思南路)口一楼房内成立。选举执行常委许幸之、沈西苓、于海、张眺等9人，主席许幸之。提出开展写生、摄影、研究、办校、展览等十大活动，推动美术革命。在一二九学生运动和抗日救亡活动中发挥美术的宣传作用。民国25年结束。
决澜社 油画艺术团体。民国20年成立，麦赛尔蒂罗路(今兴安路)90号。发起人庞熏琹、倪贻德，民国24年停止活动。
中国画会 前身蜜蜂画社。民国21年成立，初址华龙路(今雁荡路)80号。由钱瘦铁等主持。后迁威海卫路(今威海路)，抗战前夕迁新华艺术专科学校内，由汪亚尘等主持。会员300余人。抗战胜利后，实行理监事制，常务理事孙雪泥、贺天健等，设于陕西南路139号。曾举办国画讲座，书画展览。编印《国画月刊》，《现代中国画集》等。民国37年底终止活动。
摩社 民国21年8月创立。刘海粟等发起，成员有关良、潘玉良等。社址菜市路440号(今顺昌路560号)。同年9月创刊《艺术旬刊》，主编倪贻德。曾举办画展，艺术演讲会，设立研究所等。
MK木刻研究会 民国21年9月成立。设于上海美术专科学校内。发起人周金海、王绍络等。成员五六十人。曾举行4次木刻版画展览。鲁迅选编的《木刻纪程》有一半以上的作品为该会成员创作。民国23年5月停止活动。
野穗社 木刻团体。民国21年冬成立，设于新华艺术专科学校内。成员有陈铁耕、陈烟桥等。
涛空画会 民国22年春创立。中国左翼美术家联盟为掩护地下活动而组织。会址菜市路上海美术专科学校附近三德里内。负责人夏朋、钱文兰。同年冬，被迫停止活动。
未名木刻社 民国22年成立无名木刻社，设于上海美术专科学校内。发起人刘岘。次年春改未名木刻社。曾出版鲁迅作序的《无名木刻集》，《未名木刻选集》，刘岘创作的《怒吼吧！中国》，《孔乙己画集》、《阿Q正传画集》、《子夜之图》和黄新波创作的木刻连环画《平凡的故事》等，八一三后停止活动。
刀力木刻研究会 版画团体。民国25年秋成立，设于斜徐路新华艺术专科学技内。发起人陈可默、陆地，艺术指导马达。曾举办多期版画学习班，存设年余。
上海漫画救亡协会 民国26年8月成立。以中华全国漫画作家协会为基础。负责人鲁少飞。成员有丁聪、叶浅予、张乐平、张正宇、张光宇、华君武、蔡若虹等。设于霞飞路(今淮海中路)240号上海时代图书公司内。同年9月，创刊《救亡漫画》，进行抗日救亡活动。
以上文字选自上海地方志
Shanghai images, especially the elegant women of the twenties and thirties in their cheongsams, often appear in my art.........
As a Shanghainese in Europe, it was natural and part of myself, that my art would continue to have Shanghainese themes in it. Especially as the increased distance in time and space from the town where I grew up made me reappreciate the beauty of Shanghai. When I lived there as a child, one of my strongest impressions was walking through the elegant French area, looking at the European style buildings from the thirties, and wondering about the stories behind them. When I left Shanghai, the city was rapidly changing into just another modern metropole, and I thought my feelings for this city would diminish quickly. However, from the distance of Europe I found out that you can never forget the feelings for your home town, be they good or bad. I have the feeling I only now fully understand Shanghai, and that it will always be alive in me. In Europe, I am finally able to turn these strong inner feelings about Shanghai into my art.
In the past, Shanghai was called the Paris of the Orient. For Paris, the important word here is Orient, for Shanghai the important word here is Paris. Both elegant cities, fashion capitals, with high lifestyle, always like being on a stage. Both cities in which the people have to face the real life problems, still have their dreams, but have the typical large-city mentality of keeping a distance. Both cities in which people grow up in a city culture. They see pictures of the sea long before they actually see the sea, they read about love before experiencing love. The real experience always follows the imagined one. In this sense, there is very little difference between East and West.
In the past, Shanghai was called the Paris of the Orient. For Paris, the important word here is Orient, for Shanghai the important word here is Paris. Both elegant cities, fashion capitals, with high lifestyle, always like being on a stage. Both cities in which the people have to face the real life problems, still have their dreams, but have the typical large-city mentality of keeping a distance. Both cities in which people grow up in a city culture. They see pictures of the sea long before they actually see the sea, they read about love before experiencing love. The real experience always follows the imagined one. In this sense, there is very little difference between East and West.
In my current art style, all these influences and emotions come together. The emotions and memories of Shanghai, and the influences of movies and music. The amalgation of all these influences has led to a very personal art style, which we call Shanghai expressionism. I do not want to give up the fine art of Chinese ink though. Not only do I have the right technique, based on long education, but I enjoy doing it. The influences are similar to the ones in my oil paintings, and therefore I consider these black and white Chinese ink drawings to be part of the Shanghai Expressionism style as well. I only hope that I can find that there is sufficient interest in Europe for this type of very Asian art
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