张义波，于1981年考入地方 美术学院附中。真正开始接受正轨 的美术教育。1989年毕业后实现了本身 的欲望 ，做了一位 大学教师。在北京的1 所成人学校1 干就是十年。1998年再次回到母校地方 美术学院继续研讨 生同等学历的学习。2000年毕业后调回地方 美术学院任教。现为地方 美术学院城市设计学院绘画系主任与中国写实画派成员。
擅长特色
张义波是我国写实画派的重要成员，擅长创作超写实的肖像作品，他的画多采用烛光、灯光与户外的自然光等来塑造人物的形体，让观众的视线更集中，画面的每个细节都很写实，全体 上却是营建 出了超然于理想 的唯美气氛。
张义波的市场之变—写实、写色到写意的经典寻求 与其说今年是张义波的市场之变，倒不如说是他的作品面貌发生了变化。这1 变给他带来了创作上的无穷 冲动，使他整日沉浸在画室里，不愿离开半步。张义波找到了绘画新的主题，市场的表现自然也就抢眼。
在今年翰海的春季拍卖会上，张义波的作品《秋梦》以38.5万元拍出。这比他平时的拍卖价高出1 倍多，中式古装的传统打扮 、暖和 的烛光是张义波进入市场的标志性符号，此前他的画并不担心是否有无 人买，但这徘徊于市场多年不温不火的价格，倒使收藏他画的藏家有点急。至于作品的面貌，使得他的老师孙为民有点急，由于 孙为民对张义波的技术深信不疑，他置信 张义波有着雄厚的专业积累，应当 画出好的作品才对得起他已掌握的技术水平。性情 不紧不慢的张义波还是按照他设定的轨迹坚实地行走着。
这次作品的高价成交，并不是张义波刻意去顺应市场，而是他对绘画的理解及表达有了1 次审美的提高。作品面貌较前之所以发生变化，这应得益于他的欧洲之行、得益于他在欧洲大量的的户外疯狂写生、得益于对东方 大师油画言语 深入挖掘时的执着。难怪回国后的张义波在很长1 段时间里总带着在欧洲时1 脸幸福愁容 而不愿散去，明显 他还没有从那绘画之邦的领地中走出。仿佛身边总站着令他敬慕 几个世纪的师长，引领他进入1 个纯粹的求学理想形态 。
2004年7至12月，张义波应法国国际艺术城主席布鲁诺夫人的约请 ，对法国及欧洲的绘画艺术进行了为期半年的考察与学习。前后 旅游 了法国、德国、比利时、荷兰、意大利及西班牙的近二十个城市，参观了欧洲的次要 博物馆及美术馆四十余个，对欧洲不同时期的油画大师的原作进行了细心 地研讨 。为了使这类 逼真 的感受转化为成果，怀揣着1 张欧洲通票的他，带着1 双审美的眼睛与浏览 的收获，同时沿途不忘写生，在塞纳河畔、莱茵河边、古城堡下、画面般的村庄里，张义波都试图去找寻大师当年在此绘画与成长的脚印 ，触景生情，触笔有静。张义波似乎找到了绘画的重生 。
张义波对欧洲游学的经历，进行了思辨的梳理，也对本身 之前 的创作作品重新审视。他看到欧洲美术馆的陈列品就像1 本好的教科书，把不同地域的作品按时间顺序排列，使本身 能很清晰地看到东方 美术史的发展脉络。从之前 盲目的崇拜中，通过这次近距离的观摩，有了本身 对文艺复兴之前 的作品的冷静认识，局限性同样也存在于那1 时期的1 些艺术家作品中，当时的艺术家对人物的塑造还较为概念和死板，这也适时地提醒了本身 ；也有对文艺时期优秀的东西进1 步吸纳，这1 时期艺术家不管 是对人物的形体、结构、解知识的掌握都值得本身 深入的学习，对不同物品的质感表达、空间关系的处理，色彩的应用 ，画面构图的经营等方面都得到了空前的发展。
张义波最大的收获，是色彩给本身 带来的快乐。他认为：当人们谈起印象派绘画时，总会提到十九世纪、中期科学技术的发展与进步，会把印象派绘画与人们对客观世界光与影的色彩认识相联系，认为印象派绘画是对自然界光影、色彩的客观的真实表达，而当我们站在印象派大师的作品前时会发现画家们除了对客观世界光与影的色彩研讨 外，更加强调艺术感受与表现手法，他们对于客观对象的表达都有各自不同、成熟的1 套画法，印象派绘画不是客观地进行简单地描摹，而是更加突出表达客观 感受与艺术表现。
张义波认为：每一名 大师绘画风格的确立都不是偶然的，当了解了每一名 艺术大师的不同时期的作品后会发现，他们在对艺术的探究过程中也同样无不受到同时代其他艺术家的影响，也在不断地探索中东撞西碰，最初 逐步 找到适合本身 的绘画路子。
张义波的可贵的地方 能及时地调整本身 ，把欧洲的收获及时地应用 到本身 的作品中。回国后随杨飞云老师带队去了云南写生，后又去了平遥古城。这两次高密度的写生训练，使张义波对油画的色彩把握得到了迅速提高，60多幅的写生作品中，不管 在笔法的应用 、画面的肌理及本身 的客观 感受上都得到了综合的提高。户外的写生使张义波回到画室里找到了创作时的冲动，油画的色彩言语 丰富了，笔法的应用 纯熟 了，这次创作的同样是室内景，但拔取 的对象多了1 些古代 人的生存形态 ，但传达给你的是脉脉的温情、甜美的回忆，绘画的技术享用 与画面的精神享用 一同 带给了观众。
其实张义波的技术力量还是很过硬的，地方 美术学院十几年的严厉 专业训练，已打下了扎实的基本功。由于特殊的缘由 ，张义波十分荣幸 ，地方 美院的四个画室的教学体系，他去了多半，这对于成长当中 的他来说是1 笔宝贵的财富。作为地方 美院的一位 教师，他内心总有1 种渴望，使本身 能成为无愧的授业解道者，让本身 的作品得到师生们的真正爱好 。
由于张义波本身 的实力，他已被中国写实画派吸纳为成员。这使他创作的心态更加不变 了。也与他多年对写实主张的寻求 是分歧 的。张义波认为：写实绘画首先技术含量高，有很多语法掌握起来很困难。需求 耐得住寂寞，不等于1 份投入就有1 份回报，可能十份投入也没有1 份回报，积累的过程相当的慢长。很多人吃不了这个苦，自然就转向搞别的去了，也由本来 画写实的，画不好，也搞别的去了。
比来 张义波又创作了几幅新作，1 改过去作品的面貌，但经典性不断 是不变的寻求 ，让我们看到他在画面的空间关系、明暗关系、结构关系、色彩关系上有了新的变化，在户外自然光、室内自然光及灯光下物象的处理上，使作品有了完善 的厚度。张义波喜欢用光线塑造物体，烛光给了他少年时代许多美好的记忆，怀旧的题材成了他很长时间以来精心描绘的对象。灯光的视点比较集中，能集中展现 人内心最美好的1 面，而隐去1 些次要的东西，从而产生朦胧之美的萌动。陶渊明式的世外桃源境界，是人生的1 种理想的生活形态 ，也是近期张义波作品中所表达的1 个次要 方面，这与很多人传统的审美相吻合，自然包括那些到处寻宝的收藏家。

Zhang Yibo was admitted to the Affiliated High School of the Central Academy of Fine Arts in 1981. We really began to accept formal art education. After graduation in 1989, I realized my wish and became a university teacher. One adult school in Beijing has been working for ten years. In 1998, he returned to the Central Academy of fine arts of his alma mater to continue to study with the same degree as a graduate student. After graduation in 2000, he returned to China Central Academy of Fine Arts to teach. He is now the director of the painting department of the Urban Design Institute of the Central Academy of fine arts and a member of the Chinese realistic painting school.

Good at distinguishing features

Zhang Yibo is an important member of the realistic painting school in China. He is good at creating super realistic portraits. His paintings mostly use candlelight, light and outdoor natural light to shape the figure of the characters, making the audience's vision more concentrated. Every detail of the picture is realistic, but on the whole, it creates a transcendent aesthetic atmosphere.

The change of Zhang Yibo's market - the classical pursuit of realism, color and freehand brushwork is not so much the change of Zhang Yibo's market this year as the change of his works. This change brought him infinite impulse in creation, which made him immersed in the studio all day, unwilling to leave half a step. Zhang Yibo found a new theme of painting, and the performance of the market was naturally eye-catching.

At this year's Hanhai spring auction, Zhang Yibo's work autumn dream was sold for 385000 yuan. This is more than twice his usual auction price. The traditional Chinese costume and warm candle light are the symbols of Zhang Yibo's entering the market. Before that, his paintings were not worried about whether anyone would buy them. However, the price that lingered in the market for many years made the collectors who collected his paintings a little anxious. As for the appearance of the works, sun Weimin, his teacher, is a little anxious because sun Weimin believes in Zhang Yibo's technology. He believes that Zhang Yibo has a strong professional accumulation and that good works should be drawn to meet the technical level he has mastered. Zhang Yibo, who is not anxious or slow in character, is still walking solidly according to the track he set.

The high price of this work is not that Zhang Yibo deliberately conforms to the market, but that his understanding and expression of painting have improved once. The reason why the appearance of his works has changed is due to his trip to Europe, his crazy outdoor sketching in Europe and his persistence in the deep exploration of Western master oil painting language. It's no wonder that Zhang Yibo, who returned home, always wore a happy smile when he was in Europe for a long time and didn't want to go away. Obviously, he hasn't come out of the territory of the painting state. It seems that he always stands beside the teachers who make him admire for centuries and lead him into a pure ideal state of study.

From July to December 2004, at the invitation of Mrs. Bruno, President of France International Art City, Zhang Yibo conducted a half year investigation and Study on the painting art in France and Europe. He has visited nearly 20 cities in France, Germany, Belgium, the Netherlands, Italy and Spain, visited more than 40 major museums and art galleries in Europe, and carefully studied the original works of oil painting masters in different periods in Europe. In order to turn this true feeling into a result, with a European pass, he has a pair of aesthetic eyes and the harvest of reading, and does not forget to sketch along the way. On the banks of the Seine River, the Rhine River, under the ancient castle, and in the picturesque village, Zhang Yibo tries to find the footprints of the master's painting and growth in the past, touching the scene and feeling, and touching the pen quietly. Zhang Yibo seems to have found a new life in painting.

Zhang Yibo's experience of studying in Europe is reviewed, and his previous works are re examined. He saw that the European art gallery's exhibits were like a good textbook, arranging the works in different regions in chronological order, so that he could clearly see the development of Western art history. From the previous blind worship, through this close observation, we have a calm understanding of the works before the Renaissance. The limitations also exist in some artists' works of that period. At that time, the artists were still relatively conceptual and rigid in the characterization, which also timely reminded us; there were also further absorption of the outstanding things of the period. The artists in the period, no matter how they master the figure, structure and understanding of the characters, deserve their own in-depth study. They have made unprecedented development in the aspects of texture expression, spatial relationship processing, color application, picture composition management, etc.

Zhang Yibo's biggest harvest is the happiness brought by color. He believes that when people talk about impressionist painting, they will always mention the development and progress of science and technology in the 19th century and the mid-term. They will associate impressionist painting with people's understanding of the color of light and shadow in the objective world. They think that impressionist painting is an objective and true expression of light, shadow and color in the natural world. When we stand in front of the works of Impressionist masters, we will find that painters are not only interested in In addition to the study of the color of light and shadow in the objective world, they put more emphasis on artistic feelings and expression techniques. They have different and mature painting methods for the expression of objective objects. Impressionist painting is not an objective simple description, but a more prominent expression of subjective feelings and artistic expression.

According to Zhang Yibo, the establishment of each master's painting style is not accidental. When we understand each master's works in different periods, we will find that they are also influenced by other artists of the same era in the process of art exploration. They are also constantly exploring the Middle East, bumping into the west, and finally gradually finding out.