在我馆建馆之初出版的《刘海粟 (雅昌指数59↑) 美术馆藏品．刘海粟绘画作品集》之中选印了一些刘海粟的油画作品，这只是馆藏300件刘海粟油画中极少一部分。这些年来，我们将这些尘封数十年的油画逐渐清洗、修复、整理，发现许多作品都几乎与世人未曾谋面。这于刘海粟先生来说是一大遗憾，于刘海粟研究及中国最早期油画研究从物证上亦是个缺憾，为此我们决定编辑出版一本刘海粟油画藏品集。
　　刘海粟是中国第一代油画家的代表人物之一。上世纪初来到上海，14岁在周湘的布景画传习所学西画，当时对油画的理解主要得之于西洋图片之中。豪放豁达的个性使他对于当时西欧盛行的后期印象主义情有独钟，他的天赋、智慧使得其虽未到过欧西，但却领悟油画的要谛。又由于他同是中国水墨画的高手，他将中国水墨画的书写性融入了油画，使得他的油画又流着民族的血液。尤其到了晚年，恣肆的挥洒使得油画与国画于他只是材质的区别，而豪情逸志的表达才是他的根本。如果说徐悲鸿、颜文梁将西欧的写实主义引入中国的话，那么刘海粟、林风眠则是将西欧的表现性绘画介绍到中国来的先驱之一。从这一点上来说，这本画集的出版对于中国油画东渐史的研究提供了重要的物质左证。
　　刘海粟美术馆是一个年轻的美术馆，刘海粟研究是其学术研究工作的一个重要方面。我们研究人员都是刚从学院毕业不久的研究生。但我觉得出版这么一本画集必须要有相应的研究文论，她们从现有掌握的史料中，从刘海粟30年代的欧游之行的贡献，刘海粟和抗战前上海美专西画系同仁的油画教育与实践，以及刘海粟与20世纪初中国美术公共领域的构建的几个方面论述了刘海粟在20世纪初对中国美术的实践与贡献，这无疑对于读画者来说提供了一个多侧面的时代与学术的背景。使我们能将这些作品放在一个立体的有生命的背景中来欣赏与读解，将会引起更深的思索与感悟。最重要的，我们请了著名的美术批评家邵大箴撰写了总序，使得这本画册更臻完美，在此致以衷心的感谢。
　　刘海粟的这些油画原先都用牛皮纸封裹着，许多作品颜料都已剥落，这些年来我们逐渐进行修复。再者这些作品在当年捐赠登录的名册中作品的标题许多都是模糊的《风景》、《静物》和《人物》以命之，这无疑对于作品的陈列、收藏、学术研究与流传是非常之不利的。对这些作品必须有一个符合历史或又相对准确、妥帖的命名。我们研究部的藏品研究人员，考证比对了原作品背面文字墨迹及一些民国时期的画册、书籍等，对这一些作品确定了标题及年代和作者（详细情况见考证文章）。总之，这本画集的编辑出版是我馆近年来整理、保管、研究成果的体现，由于我们现今的水平有限，肯定还存在着许多的不足与问题，恳请专家们批评指正，对于在这本画集出版中提供帮助的各位朋友致以深深的谢意。

刘海粟美术馆馆长张培成
2007年11月

　　In the catalogue “Liu Haisu Art Museum’s Collection: Selection of Liu Haisu’s Paintings”, which was published shortly after the foundation of our museum, compiled only a very small proportion of the 300 pieces of Liu Haisu’s oil paintings collected in the museum.  For these years, we gradually clean, restore and arrange these oil paintings covered with dust for several decades, and find out that many works have been rarely seen by the public, which is really a great regret for Liu Haisu and also a pity in the evidences of the research about Liu Haisu and  the earliest oil painting in China.  Thus, we decide to compile a catalogue about the collected oil paintings created by Liu Haisu.
　　Liu Haisu was one of the representatives of the first generation of oil painters in China.  At the beginning of last century when he was 14 years old, he went to Shanghai and learned about western painting in The Institute of Painting founded by Zhou Xiang and obtained his comprehension about oil painting mainly from western pictures.  The bold and unrestrained personality resulted in his special affection for post-impressionism popular in Western Europe then, and his talent and intelligence enabled him to understand the important essence of oil painting though he had never been to Western Europe.  Also, as he was expert in Chinese ink painting, he integrated the writing element of Chinese ink painting into oil painting, which added national blood into his oil painting.  Especially in his senile age, carefree splashing made the difference between oil painting and Chinese painting only the difference in material, and the unrestrained and passionate expression was his fundamentality.  If we say that Xu Beihong and Yan Wenliang introduced realism from Western Europe to China, then Liu Haisu and Lin Fengmian were two of the pioneers to introduce expressive painting from Western Europe to China.  Speaking from this perspective, the publication of this catalogue provides the important material evidence for the research about the dissemination history of Chinese oil painting.
　　Liu Haisu Museum is a youthful museum, and the research about Liu Haisu is an important aspect in the academic research work.  Our academic staffs are all graduate students who have graduated from academies not long before.  However, I believe that we must have corresponding research material to publish such a catalogue.  According to the current historical information they have known, it elaborates on Liu Haisu’s practice and contribution to Chinese art at the beginning of the 20th century from three aspects: the contribution of Liu’s trip to Europe in the 1930s, Liu’s education and practice in oil painting with his colleagues in western painting department of Shanghai Art College before the War of Resistance against Japan, Liu’s relationship with the construction of public field in Chinese art at the beginning of the 20th century.  This undoubtedly provides a comprehensive background about the times and the academic research for the audience, and enables us to appreciate and interpret these works in a three-dimensional and lively background to evoke deeper consideration and comprehension.  What’s more important, we invite Shao Dazhen, a famous art critic, to write the general preface to make this catalogue closer to perfection, and here I’d like to extend my sincere gratitude to him.
　　Liu Haisu’s paintings used to be packaged by kraft paper, and the paint of many works already peeled off, therefore, we have been gradually repairing and restoring them.  Besides, according to the inventory of donation at that time, many titles in record are ambiguous, such as Landscape, Still Life, Figure, and etc, which is obviously very disadvantageous for the display, collection, academic research and circulation of the works.  For these works, we ought to designate relatively accurate and appropriate names to them in accordance with the history.  Our collection’s research staffs in the academic department have studied and compared some catalogues and books in the times of Republic of China and confirmed the title, date and creator of these works (please refer to the research articles for the detailed information).  In one word, the compilation and publication of this catalogue is the representation of our museum’s achievements in organizing, preserving and researching the collected works.  As for our current limited level, there must be many deficiencies and problems, and we sincerely welcome the experts’ comments and corrections.  Here, I’d like to express my deep gratitude for all the friends who have provided assistance during the process of publishing this catalogue.

Zhang Peicheng
Director of Liu Haisu Art Museum
November, 2007

作者：张培成