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这幅作品是陈天龙的早期作品，在写实的过程中，真实感是他创作的关键。画中的天空具有质感，凭借扎实的技法，他将云彩以及颜色的变化表现得生动且逼真。而对于树和泥土，陈天龙并没有如古典主义那样将景画得很精确，而是体现了它的绘画性，使得它具有艺术魅力。

A Few Treesis Chen’s early work. Chen adopts Classicism landscapepainting technique to present clouds truthfully with accurate colorvariations. By contrast, trees and soil are pictorial in this work.

这幅作品创作于1958-1959期间，陈天龙在新安江水电站建设工地参与劳动这一时期。《上班》记录了工人们早晨上工的画面。陈天龙回忆，当时自己总是起得很早，在工人上班的路上架起画架开始写生。下乡劳动一呆就是个把月，陈天龙一边劳动，一边挤时间进行艺术创作。这段时期对陈天龙的创作人生起到了很大的影响。生活在城市里的知识青年深深体会到了劳动的价值与快乐，更让他认识到了艺术来源于现实，要在生活里感受艺术。而大量接触写实的场景，也让他更加注重技术的训练，不断丰富自己的表达语言，来呈现更加多元的画面。
These two paintings were created in 1958 and 1959.Go to Worksketched outworkers heading to workplaces in an early morning. Chen kept painting whileworking at the Xin’an river construction site for months. Value and pleasure oflabor work make him aware that art comes from reality and he should feel art inreal life. His extensive exposure to realistic scenes made him pay more attentionto technical training, enrich his artistic expression, and present diverse images.

《两个树根》是陈天龙年少时的作品。为追求画面的质感，他在技法上严格训练自己，不断地进行揣摩。除了用笔和色彩的调配，陈天龙在工具选择上也颇为讲究，就像笔和刀，工具不同，在视觉上也会产生不同的审美效果。该作品中，他就用刀代替了笔，通过一层层的叠加，展现出老树根在画面中的厚重感。
Two Tree Rootsis one of Tianlong Chen’s early works. Chen’sprimary interest at this time was in texture and color, and he exploredmultiple techniques and tools. For this work, Chen utilized aknife and layer-by-layer composition in order to emphasize the sense ofweight in these ancient roots.

这副画作于大跃进时期。与老师同学下乡做宣传的陈天龙，顶着金华夏天的烈阳，拿着滚烫的画板，巧妙地刻画了丘陵地带通往远方无穷无尽的黄土路。无穷尽的路，这是一条漫漫的学子之路，又是无穷尽的人生之路，充满向往的路！

The Roadwas painted during The Great Leap Forward Movement. Chen wasdoing propaganda in countryside with his teachers and classmates. Holding a hotdrawing board under excessive heat, he depicted an endless dirt road that leadsfrom the hilly area to the distance. The dirt road indicates a long way of being astudent, an endless road of life, and a path of forever longing.

这是陈天龙1956年初进中央美术学院华东分院（现中国美术学院）时所作的一项课外作业。它代表着画家创作生涯第一阶段的风格—追求真实感。这幅作品与之后一系列有关“花”的作品展现着陈天龙绘画风格和理念的转变。从单纯追求写实，到追求多样化的艺术表现手段，不断训练色彩与用笔的技法。陈天龙说，技法是对象告诉我的，被我画的东西是我的老师，只有实实在在掌握手法，拥有丰富的积累，才能使表现手段不会单一，才能随心所欲地运用。

The Red Chrysanthemumisatypicalworkamong Chen’sfirststageofpaintings, where he sought only for truthfulness. His later paintings treat “flowers” with various manipulations of colors and strikes, other than a realistic expression. Chen Tianlong said objects taught him techniques. Only when he had a solid graspofskillsand accumulated rich experiences, he could utilize multiplemeans ofexpression as he wished.

隠喻赞美温州肯恩大学崛起使山野僻壤成了崭新的文化教育圣地，且带动落后的乡村渐走向现代文明。作者以漫不经意不守成法的自由笔调，是是非非不了了之的审美个性，在豪放不羁的意笔中构建了抒情的画面。这是一幅集西方的审美观念与中国的大写意绘画的笔墨理念相融合的个性化的当代中国写意油画。

Chen Tianlong metaphorically praised the rise of Wenzhou-Kean University for making remote mountains a new cultural and educational mecca, and for driving backward rural areas to modern civilization. Chen created a lyrical image in his uninhibited brushstrokes, with a freestyle of casual and unconventional, and a placid aesthetic personality. This is a personalized contemporary Chinese freehand oil painting that combines Western aesthetic concepts with the brushstroke and the concept of Chinese freehand ink painting.

陈天龙，出生于1935年，温州市人。1956年考入中央美术学院华东分院（现中国美院），本科毕业后，1960年考入罗马尼亚著名画家埃乌金·博巴执教的油画研究生班。

Chen Tianlong was born in 1935 in Wenzhou City. In 1956, he was admitted to the East China Branch of the Central Academy of Fine Arts (now the China Academy of Fine Arts). After his bachelor's degree, he was admitted to the master class of oil painting taught by the famous Romanian painter Eukin Boba in 1960.