The basic color When I first started painting, I included the following ten colors in my palette, plus white. Each primary color has at least one cool color and one warm color, plus one intermediate color and one complex color. White (titanium zinc white) Light cadmium yellow (primary, warm) Earth yellow (primary color, cold) Cadmium vermilion (primary, warm) Rose earth red or light red (primary, cold) Magenta (primary color, cold) Ripe ocher (compound color, warm) Bright green (interchromatic, cold) Light cobalt blue (primary, cold) Ultramarine (primary color, warm) Ivory black (cold) Commonly used color In recent years, I have added the following colors to my palette for convenience. All but phthalocyanine pigments can be combined with basic tones. For example, deep cadmium yellow can be synthesized by adding a little cadmium red to light cadmium yellow. Sheng zhe can be synthesized with earthen yellow and ripe ocher. But if you need to use a lot of paint, it's easier to use a readily available hose instead of making your own. Start Huang Sheng umber Deep cadmium yellow ripe brown Cadmium red phthalocyanine green Deep cadmium red phthalocyanine blue Deep cobalt violet The combination of basic colors and common colors is not chosen arbitrarily, nor is it original. Rubens and other Flanders painters in the 16th century are said to have done something similar. Anyway, the arrangement of colors is reasonable. White and black I use titanium zinc white because titanium dioxide is the whitest white pigment, but it forms a weak layer, and zinc oxide must be added to improve its strength and quality for pen use. Instead of coal black, I use ivory black because it is more practical and does not gray when it dries. However, it has a higher oil content and dries slowly, so pay attention when using it. I always use very thin paint when I paint the bottom layer with it. Cadmium pigments All CADMIUM SULPHIDE PIGMENTS - LIGHT CADMIUM YELLOW, DARK CADMIUM YELLOW, EOSIN (ONLY THOSE PRODUCED BY THE WINTHOR Newton FACTORY ARE USEFUL), CADMIUM SCARLET, CADMIUM RED, AND DARK CADMIUM RED ARE STABLE AND GOOD PIGMENTS. These pigments, together with their complementary or earthy pigments, can be used to make all red pigments except magenta and crimson. Earth pigment Earthen and rose earth reds (absolutely durable) are the most common tones I use when blending skin tones. Earthen and rose earth reds work with white and a little diamond blue or emerald green to blend most skin tones in natural light. The ocher I use is a Brox made in Belgium. It's the deepest, most transparent kind of ochre. It BLENDS WITH IVORY BLACK TO PRODUCE A NICE CLEAR WARM BLACK, AND RIPE BROWN IS a DARKER, less TRANSPARENT brown THAT I often USE as a CLEAR thin paint when SKETCHING. Drill blue and drill purple The blue I most often use when drawing human bodies (especially in light) is diamond blue. Because it's solid even in the thinnest shade. It is cooler than ultrabine and can be mixed with white, turquoise, phthalocyanine green or cadmium yellow to form blues such as cerulean or manganese blue. Ultramarine is mainly used to paint landscapes, but is sometimes used to paint the human body, especially when a cold transparent dark color is needed. The cobalt violet I use is deep cobalt violet because some manufacturers use cobalt arsenic to make light cobalt violet. Deep cobalt violet is made from cobalt phosphate and is therefore perfectly safe. Adding a bit of white to the deep cobalt violet produces a slightly cooler color than the light diamond violet. When I drill deep purple, I squeeze it straight out of the hose, without diluting it, or mix it with white, cobalt blue, or ultramarine. Its color power is very weak, in addition to white or blue, not easy to adjust with other colors. Phthalocyanine green and phthalocyanine blue I rarely paint bodies in phthalocyanine green because I've never seen skin tones that green. Same with phthalocyanine blue. I use them when I paint landscapes, but I also use them very carefully, because they have a very strong color power.

Hot painting and cold painting are the oldest wax painting techniques in Europe. They are distinguished by the use of wax medium. Wax suitable for painting is mainly beeswax. The beeswax sold in stores is milky white cake shape or block, soft and delicate, heated to 60℃ can be melted into turpentine, high-grade gasoline and water. Wax paint is suitable for painting on hard supporting materials such as wood, and can also be attached to canvas. The bottom of the canvas is generally a gelatinous base, or it can not be a base, but it can not be painted on an oily base. (1) Thermal drawing Select 8 parts of high quality beeswax, cut into small pieces, add 1 part of Carnuba wax (imported wax, the shape of egg yellow fragments, smooth and hard, can not be used) mixed into a metal container, with fire heating to melt. Then take the same amount of (1∶2) Dama resin varnish to mix together, and divided into a number of small metal boxes, and then a variety of color powder each color of a box respectively stirred in the hot wax solution, you can make different colors of wax color paste. When painting, the color paste box is arranged on a smooth metal plate that can be heated, so that the wax color is kept in a melted state. The paint can be dipped in the color liquid and the color can be mixed on the metal plate, and diluted with turpentine when necessary. The wax color will solidify quickly when applied to the picture, and can be covered in multiple layers. It can also be modified and retouched with a scraper while hot. Modern painters often use auxiliary tools such as a hot hair dryer, a special electric soldering iron, and a heated scraper. As shown in figure 26. After the completion of the wax painting is matte state, available flannelette on the screen polishing. 2) Cold drawing Cold painting method is divided into emulsified wax and saponified wax two medium color mixing method. Emulsified wax: ALSO known as wax cream, the standard preparation method is: take 30 grams of high quality beeswax, put into 250 ml boiling water to dissolve, add 15 ~ 20 grams of ammonium carbonate (can be dissolved with a little warm water first), boiling bubble after stirring, until the bubble disappears, can be made bean curd brain shape wax cream. When painting, use 4 parts wax cream +1 part latex (or animal glue, casein glue, etc.) to mix the color powder. Saponified wax: PUT 1 part beeswax and 3 parts turpentine in a wide mouth bottle, seal it, heat the beeswax with water to dissolve in turpentine, then add (1∶2) DAMa polishing oil to mix the pigment powder. Cold painting works better on canvas and paper than HOT painting, but cold WAX painting, if polished, is best painted on wooden boards with a plaster base.

Collage means that in the process of painting, in order to obtain unique artistic effects, real objects, such as newspapers, pictures, and so on, are cut into desired shapes according to the design intention and pasted onto the picture. Through the painting itself produced by the texture, contour movement changes, color block contrast echo, change the materiality of the paste, concretely or abstract expression of the author's implication. Collage is inextricably linked with folk paper-cutting and cubism. Cubism broke the traditional concept of modeling and sought new ways of expression. It did not take into account the reality of objects and images, and painted in a way that only connected with its own thoughts. Strive to show all aspects of the same image or the same image changes in a certain period of time. This technique of disassembling and reassembling objects has been further developed into painting drawings and paintings by attaching newspapers, wrapping paper, thin boards, glass, and strips of cloth, which have nothing to do with the subject of the painting. This method created a new concept of independent creation by subjective attainments rather than relying on objective objects. George Brack, one of the representatives of Cubism, was the first to introduce ready-made materials such as newspapers into painting. The Violin and the Pipe was created in 1913 using a combination of newspaper, wallpaper collage and charcoal techniques. It not only highlights the picture, but also uses the overlapping of different materials to imply a sense of space. Collage is not a unique art form of modern painting. Early Italian church paintings are excellent examples of the use of background color to combine glossy color materials with gold leaves to express the aesthetic feeling of materials. The magnificence of the gold leaf was enhanced by making relief designs on the plaster base, polishing the gold leaf, or occasionally embellishing it with the precious gem jade. These religious works, which combine painting pigments with gold leaves, inspired Klimt's exploration of synthetic materials. He made a dreamlike stylized arrangement of rhythmic patterns formed by embossed gold leaves and gold paint, and combined this arrangement with the curves, dynamics and graceful human shapes, as shown in Figure 47. In order to achieve novelty and fashion, Klimt pursued the metaphorical nature of decoration, inlaying marble, gold and silver foil, copper, coral, mothering and other materials into his oil paintings, which greatly enriched the expressive features of modern oil paintings.

One of the basic and traditional rules of the art of composition was written by the ancient Greek philosopher Plato centuries ago, "Composition is to discover and embody the diversity in a whole." It is a concise and general illustration of how a painter should arrange the composition of a painting. Variety may lie in form, color, and the placement of major components in a work. Variety means creating variations in form and color that will catch the viewer's attention, arouse their interest, motivate them to look closely and enjoy it. However, this variety should not be too much, or the audience will become upset and lose interest. Diversity must be present in a certain order, in a kind of overall harmony. In other words: Unity in diversity, Find change in unity. This is the most basic law of composition art. In terms of the form of composition, according to the distribution and combination of the subject, it can be divided into circular composition, "S" shape composition, triangle composition, quadrilateral composition, T-shape composition, etc. No matter what kind of composition form, all achieve unity by symmetry or balance. Symmetry means order and unity, and asymmetry means freedom and diversity. Artists often use symmetrical composition when expressing serious themes. In the Coronation of the Virgin, Velazquez uses symmetry to make the coronation solemn and sacred. More artists use asymmetric composition to express their creativity. In an asymmetric composition, the weight of form and color is compensated and balanced by deviating from the central axis. Successful painters always draw on the strengths of their predecessors and find their own way in composition. Every masterpiece has a unique new exploration in the form of composition. As Ruskin said, "There are no fixed rules in the art of composition. If there were, Titian and Veronais would be ordinary and ordinary people."

"Brush" is to use the brush dipped in thick color on the dry color surface with the brush brush to finish the transition from light color block to dark color block, bright color, highlight color. The erasure method is used to cover the light color to the dark color, more commonly seen in classical painting "lift white". Titian, the founder of modern painting, was a master of erasers. In the Painting of Pietro, Titian skillfully used the technique of erasers to complete the conversion of highlights and the relationship between light and shade. Rembrandt, another master of erasure technique, used a dry brush and a small amount of thick paint to erasure his face in his later self-portraits, creating powerful images. Figure 32 Rembrandt's Self-Portrait. The "erasure" technique is mostly used in the monochromatic flat painting stage. Start with a simple composition and layering in monochrome on a white base, then use a paintbrush (dipped in turpentine) to erase the tint and expose the white base. This is kind of the reverse way. Since rubbing must be done on wet colors, this technique is especially suitable for the initial stage of painting. When the layer dries, it can be used as a base color to continue painting on.

In contrast to the "dry brush" painting method, the "smooth brush" painting method pursues the glassy smooth and flat picture effect without any brush marks. The requirements of the "smooth" drawing method are as follows: (1) The first is to choose fine texture linen, do the bottom with sandpaper repeatedly grinding, in order to fine texture. (2) In any stage of painting, do not use thick painting, easy to produce obvious brush strokes. (3) Try to avoid the use of toning liquid, especially thick polymeric toning media. To use a fresh oil paint color, dilute it slightly with resinous turpentine. (4) The sketch manuscript should be accurate and clear. (5) The first layer of oil painting should be painted with clean and even strokes, without bumps, and the colors should be fully harmonized. (6) In the process of coloring, we should use more fan pens to smooth the color. Small oil painting rollers and cotton rags can also be used. (7) require smooth surface, multi-layer painting is necessary, color by the layers of rich. (8) "smooth" as a technique is only used in a part of the painting process is the best, because too much smooth will make the picture color poor and weak. If it is used with techniques such as thick coating and dry pen, its texture characteristics can be better reflected.

Painting itself is hard enough, but painting on a poorly done canvas is even harder. Therefore, I always prepare my own canvas and drawing board. This is much cheaper than buying canvas in the market. Bought canvases have several disadvantages. First of all, the manufacturer of the canvas is not willing to tell you what the canvas is made of and how it is made, except to simply say "single coat" or "double coat". Secondly, no matter what the price of the canvas, the surface grain is the same, I have to apply another layer; Or in the painting regardless of need, with thick coating method, so as to change the original smooth surface. The best thing about homemade canvases is that they can be made into a variety of surface textures. In terms of the quality of the surface and durability, it is well worth making your own canvas. When I make canvas, I don't cut out the whole cloth and use it, but I make a single frame. It's good to do that. The canvas is stretched directly on the inner frame at once, with little need to be moved or re-stretched. Since the canvas is stretched directly over the inner frame and tightened by a layer of hot glue, the tension on their surfaces is the same, less likely to sag and need not be inserted into the rod head. Moreover, dry, unpainted canvas does not have to be taut, so the inner frame will not deform due to strong and uneven tension. I cut my canvas and canvas in a time-tested way. I use two fine Belgian linens. For sizes larger than 16 "x 20", use Uttleck Model 21 A with medium fabric print, which has A weave density of 62 branches per square inch. The smaller pieces are Uttleck model 66 J, which is very smooth and has 92 lines per square inch. I cut the canvas to size and stretched it over a standard tenon wood inner frame, taking care not to wrinkle. Then, I use a sponge to brush the hot rabbit skin glue onto the cloth. The solvent of rabbit skin glue is like thin gravy, only it smells worse. It consists of six tablespoons of rabbit skin glue (42.5 grams) dissolved in a quart of water at a temperature of 20-40 degrees below the boiling point (212 degrees Fahrenheit). Never reach or exceed the boiling point. After a few hours the glue will dry and the canvas will tighten. Then, use sand to wipe off some rough spots on the surface, and repeat with a layer of glue. But I used much less glue than I did the first time. Once dry, the base can be applied. I used pure lead white mixed with refined resin turpentine to a spreadable consistency, and used a hard No. 4 pen to spread it deep into the canvas. The coating is very thin, but I let the brush strokes stay on the canvas. After about ten minutes (depending on the humidity of the air), the turpentine evaporates to a certain extent, and the lead white almost returns to its original paste consistency. At this time, I use a large painting knife to decorate the surface, selectively scraping, smoothing, or modifying the original brush strokes, until the surface texture of the canvas resembles that of an ancient state frescoes. This job needs to be done quickly, because the lead white consistency is only good for a minute or two, and when the turpentine evaporates further, it hardens. In SHORT, THE TIME THAT DECORATES WANTS TO MASTER APPROPRIATE, TOO LATE COATING LAYER IS TOO HARD, CANNOT DECORATE COMPLETELY, PREMATURE CAN MAKE CANVAS TOO SMOOTH, LACK OIL PAINTING TO GO UP WHEN MUST BE CONVEX GRAIN. Making canvases sounds like a lot of work, and it is, but I usually do more than thirty at a time, and finish them all in three days. This is done twice a year, with 60 or 70 canvases and an equal number of panels. The drawing board is made of 1/4 "untreated Maisonie fiberboard, glued on both sides to prevent warps, and served as a base in the same way as a canvas. Canvas and drawing board can be dried for ten days after they are made. Since the glue has the characteristic of absorbing the moisture in the air, I pay attention to the weather forecast and choose the day with medium humidity to apply the glue and the base. In addition, after finishing the base, write the date on the back of each canvas, and use the long one first.

use three palette knives, sizes 1 to 3, all of the same shape, long triangular, with blunt rounded tips. Knives are not easy to master, but once mastered, they can create effects that are difficult to achieve with any other tool. In most common use a knife work, can see the picture as plasterer mud knife, not much better effect than wipe mud, but, if painting knife nimble robust performance into full play, and combine it and clever brushwork, could create a simple pen or a knife can draw the magic perfect effect. The best example of this can be found in the best works of the late Nicola Fitchin. His technique is sometimes so dazzling that it overwhelms the subject, reminding one of Chase's warning: "Learn to paint so well that you can hide your technique." Here you can see the five knives I use, from left to right, palette knives # 3, # 2, and # 1, followed by a regular single-sided blade with a handle that I use to scrape the palette. The knife on the far right I can't name it, it's probably a medical knife with a flat bottom and slightly curved sides to the top. The blade is hard. But the sides can be sharpened, and I use it to scrape excess dry color off the canvas or board. pigment The method of pigment used will be discussed in detail in the chapter "Color" of this book, which is mainly about the characteristics of oil paints. First of all, oil paints are not all the same. Whether it is the same brand or different brands, there are differences in quality between them. Most American BRANDS SAY THEY MEET THE COMMODITY STANDARD KNOWN AS CS98-62, WHICH MEANS THEY MEET THE SPECIFICATIONS IN TERMS OF formulation, STABILITY AND DURABILITY. However, since this standard is not legal, it can be left to its own devices. We had to go by the label and, to put it crudely, take our chances. Most manufacturers offer two grades of oil paints, one for "student" use and one for "professional" use. Students use a variety of chemically resistant ingredients, such as barium sulfate, aluminum hydroxide, and aluminum stearate. Student paints usually have a higher oil content per tube than professional paints. Student paints cost less. The quality of professional pigments is also inferior. The raw materials of professional pigments are ground very fine, and small amounts of other things may be added to improve their performance. To ensure the quality of his work, the painter must master the knowledge of repeated experiments and comparisons with each brand of paint. Two or three times a year I buy a lot of material and sample all the colors in my studio for light resistance. First, I draw two bars on the board in the same color and let them dry. Then, one was covered with cardboard and the other was left in the sun for three months, and the two were compared. Naturally, some paints will fade a bit. Although it is impossible for a painting to be exposed to sunlight for three months under normal circumstances, I have often found that some of the so-called "immutable" pigments have undergone undue changes. All things considered, I think the paints that painters use today are just as good or better than they used to be. I also think, by my examination, that, with a few exceptions, American paints are generally better than European ones. This is not surprising, since Europe has experienced many upheavals in this century. But I think this is just a temporary phenomenon. thinner I don't use any thinner except pure resin turpentine. But there are dozens on the market. I've tried most of the well-known thinners and some of the less well-known ones. Thinners are used for two purposes. First, they can be added to oil paint to give it a flowing consistency, which is easier to use than extruding it directly from a hose. Second, a small amount of pigment is added to the thinner, which can be used as a transparent coating solution. However, it is only when the color added is originally transparent (such as ultramarine or fuchsia) that a true transparent coating is formed. If the pigment itself is opaque, such as rose earth red or cadmium yellow, it can only form a gel in which the pigment particles are suspended or diffused. This mixture lacks good optical effect when applied thinly. I know many artists who use thinners as a panacea for all kinds of problems in painting. On the surface, these thinners improve the quality of the paintings, making them more like those of the masters. There is a common argument that all great masters possess the secret formula that enables them to create masterpieces. In fact, there can be no secret formula other than solid skill. All thinners have one thing in common: they damage the pigment. It's simple. The quality of pigment depends on the grinding quality of raw materials and whether the ratio of oil and pigment is appropriate. All pigment factories have chemists who constantly check the quality of their products. Each color dictates the correct ratio of oil to pigment, which produces the most beautiful color and the most suitable consistency. The oil content required for each color varies greatly. When the thinner is added, the ideal oil content of the pigment changes, the color composition decreases, and the quality changes. I would be fair to say that the basic idea in favour of thinners is a good one. There should be something added to the paint that will improve its gloss and performance. But unfortunately no formula can achieve the above requirements without side effects. If diluents have to be used, the formula described by Ralph Meyner in Handbook of Painting Materials and Techniques, Third Edition (New York, Wilking & Co., 1970), page 216, may be the best, with the least adverse effect on painting. The MAIN REASON I DON'T FOCUS ON THINNERS OR OTHER DOPANTS IS THAT I CAN DO THE SAME WITH VARIOUS STROKES, SUCH AS DRY STROKES AND THIN STROKES. When the paint needs to be thinned (usually at the beginning of the painting), I use refined turpentine, a pure resin. Turpentine is a volatile oil and it evaporates almost completely. Therefore, the oil content of the pigment remains unchanged. Do not produce yellowing oil film for a long time. Finally, MOST OF MY WORK IS DIRECT DRAWING, AS IN EXAMPLES 5, 6, 7, SO I DON'T HAVE TO WORRY ABOUT THE BAD EFFECT OF TURPENTINE (THE WORST EFFECT IS THAT THE COLOR LAYER IS TOO THIN).

The process of creating a portrait 1 the sketch: The preparation of the sketch is the key to creation. The clarity and maturity of the sketch is the concentrated embodiment of the author's thoughts and feelings, comprehensive expression power and composition ability. The sketch must determine the concreteness of the basic expression and image of the painting. 2 On the canvas: I'm usually in the habit of enlarging the sketch to get the accuracy and affirmation I want. After enlarging the sketch on the original draft, I will make some necessary modifications and further enrich it. I hope that I have shown clear expression power in the draft stage. 3 color: My way of expression is more direct. I say that I pay more attention to the first feeling, and I will choose the local beginning which I think plays a key role. In this way, the first color often determines the color shadow expression of the whole work. The face of the figure is undoubtedly the most important. I asked myself to paint some parts at once when I felt the best, which required a good grasp of the powerful shape ups and downs in each stroke. The intensity of the color and the thickness of the color layer sometimes the picture will appear unexpected effects, which is just the natural expression of painting imagination, so in my working method, good control and confirmation is very important. Generally speaking, my drawing method at this stage is not very regular. I will only start to draw several relevant parts at the same time, and some parts need to be drawn repeatedly. 4. Overall adjustment: This stage is critical. Need more patience, this stage is not easy as the last stage is pleasure, that is the feeling of stage, the more excited, but this stage on the one hand, make up some weak part of the picture, the other side is trying to make every part of the picture full of expression and appeal, sometimes also can appear at this stage is very exciting, this is what I want. In general, my expressions are designed to suit my own strong intuition. I believe that different expressions are created by different artistic temperaments. If I can help my friends, I will be happy.

What are the commonly used color mixing media Grease is a medium for oil paints and is also used in Tampera emulsions and glazing materials. According to the drying method, oils used for toning media are divided into two categories: one is volatile oil, such as turpentine, lavender oil, refined gasoline, etc. The second is dry oil, such as poppy oil, linseed oil, walnut oil, safflower oil, sunflower oil and so on. The role of the toning media prepared by different oils is not the same. To master the techniques of oil painting, it is necessary to understand how to use the toning media. At present, the commonly used mixing agent and diluent are mainly the following: (1) turpentine Turpentine is a volatile, colorless and transparent liquid extracted by distillation of pine resin, also known as resin turpentine. In painting can be used as pigment and toner diluent, can also be used as a resin solvent. Good turpentine evaporates quickly and leaves no residue. Domestic painters use more medical turpentine, available in pharmacies. It is the best thinner for drafting and applying large color blocks. Unrelated to resinous turpentine, Venetian turpentine is a very dense amber liquid that, when added to paints and toning oils, produces a firm, jewel-like conjunctiva. So it is often used as a glazing medium. (2) Linseed oil Linseed oil, also known as linseed oil, is extracted from the seed of the flax plant and is the main medium for oil paints. Cold pressed linseed oil: The purest form of linseed oil. Its basic use is as a blending agent of oil paints. Hot refining linseed oil: It is refined by steam heating and pressing, also known as steam pressing linseed oil, the yield is higher than cold pressing. At present, Chinese art supplies stores sell mostly hot refined linseed oil, which is divided into two kinds: decolorization and primary color. Sun thickened linseed oil: Cold pressed and hot refined linseed oil is mainly used to make oil paint blending agent. The oil used for painting is thickened linseed oil. Thickening is usually done by sunlight exposure (see "Preparation of toner" for details). It is an excellent quick - drying oil for toning. Polymerized linseed oil: It is a transparent and thick excellent painting toning oil made from linseed oil in sealed state and heated to 300℃ or more. Although it does not dry particularly fast, the resulting layers have unusual strength and crack resistance. It is suitable for classical transparent painting. Flax toning oil: IT is cooked linseed oil, which has 10% light oil, 15% turpentine oil and 0.5 ~ 3% cobalt drying agent. (3) Walnut oil (walnut oil) This oil was used by European painters until the 18th century, when it was replaced by linseed oil. It has good fluidity, but it dries slowly. Contemporary painters use it as a tonic for classical paintings. There are two kinds of walnut oil on the market: cold pressed and matured cold pressed. Cold pressed pure raw walnut oil: one of the best toning oils. You can use this oil and turpentine to draft, or you can mix the three oil or direct color. Aged COLD PRESSED WALNUT OIL: MADE BY HEATING COLD PRESSED WALNUT OIL without air isolation. It contains lead oxide for use in homemade toner. Faster drying speed. (4) safflower oil and poppy oil Safflower oil: has good color persistence, does not yellow due to time, is the production of white and other light color pigments of high quality oil. It is used to produce white oil paint by famous pigment manufacturers. Poppy oil: Extracted from opium seeds and used mainly to make white and light pigments. Slow drying, less firm conjunctival. Sun-thickened poppy oil is the best toning oil. (5) emulsion matte toner (matte toner oil) Containing cellulose, dama resin. Adjust it into the color, can make the shading layer produce matte effect. Used alternately with triad oil, suitable for classical transparent painting. Fast drying speed. (6) Three-in-one toning oil (" three-in-one "toning oil) It is a lustrous toning oil with which to paint or embellish. It is a mixture of one part flaxseed oil, one part dama resin varnish, and one to three parts turpentine. Moderate dryness. (7) oil painting mixing paste The paste is a much thicker medium. Can MAKE OPAQUE oil painting color into transparent color, the most suitable for transparent thin dye painting, and dry speed express, with its color thin dye, can immediately use different color painting. (8) alkyd resin medium It is a new material and may replace the traditional toning medium. There are many brands in foreign countries, it has obvious advantages: with oil color and when, can accelerate the drying time; Can increase transparency; Make the color layer more glossy; Make the color more saturated; Color layers are also more durable. It basically comes in two forms: a thick translucent fluid and an extremely thick paste. It can be used for heavy direct painting or smooth glazing. (9) Mineral alcohol Mineral alcohol, a by-product of petroleum, acts as a diluent in oil paintings, as does turpentine. As pure as water, the most volatile, but slightly less soluble.

How to develop oil paint by oneself? European classical masters made their own paints, which made the artist more familiar with the nature of the material he was using. Hand - made pigments have a charm that those produced by manufacturers often lack. Modern painters almost no one makes oil paints by themselves, because the oil paints sold on the market are rich and complete, relatively stable, and can basically meet the needs of painters. Although domestic oil painters are not satisfied with the performance of domestic colors, they will not make their own pigments, preferring to use all imported products, including canvases and tools. Although it is very troublesome to develop oil paints by oneself, it is very beneficial to understand the process of the development of pigments by classical European oil masters as oil painters. The basic components of oil paints are pigments and binders. The pigment powders used by the old masters came mostly from earth and minerals. The other part comes from plants or animals. The binder is made of resin, dry oil and grease, balsam and wax, but linseed oil is usually used directly. Common tools for grinding oil paints: a piece of thick glass or marble slab, a grinding mallet (pestle), a palette knife and a glass bottle or empty tin tube for storing paint. The pigment powder is poured on the glass plate. If it is a pigment block, it should be crushed into powder first, then slowly add linseed oil, and then grinding in circles, and mixing with a palette knife until the unique consistency of oil paint is obtained. The pigment powder must be carefully ground to eliminate the particles, so that the pigment powder and the linseed oil are fully and perfectly combined. Different pigment powder needs different amount of oil, the pigment powder can be ground into paste. Permeable pigments should not be ground too fine, otherwise the color. When grinding lead and other toxic pigments, prevent powder from entering the nose. The pigment developed with linseed oil can be coated only when the underlying pigment is completely dry, so it is absolutely impossible to paint with extremely thick painting method. It is most suitable for one-time painting method and monochrome painting method. To reverse this pure oil pigment, the linseed oil is mixed with 10% resin varnish and 2% wax dissolved in turpentine. Wax is added to increase the consistency of the paint (you do not need to add wax if you are using poppy oil). At the same time, it can not only reduce the yellow of linseed oil, but also prevent the separation of heavy pigments and oil. Partially ground pigments may harden after several days of storage and need to be further ground. About the pigment powder also can be made by themselves, life can see a beautiful color of soil or minerals can be trial produced

The art of ancient Egyptian painting The proverbs of Amun say, "Egypt is the place where the great waters irrigate, and it is an Egyptian who dwells there and drinks its waters." Egypt is the gift of the Nile. Bordered by the Arabian Desert to the east, barren mountains to the south, the Sahara to the west, and the Mediterranean to the north, it is a complete and enclosed oasis. Every June, when flamingos fly over this narrow valley, the Nile begins to flood, and by November the flood is gone, leaving behind a layer of fertile soil. This land was farmed seven thousand years ago. Egypt caused by the Nile two terrain, namely Cairo for the border into the north and south two: the south called upper Egypt, the north called lower Egypt. Around 3200 BC, the rule of Egypt was divided between two Kings. They competed for power again and again. The result was that Lower Egypt condescended to the throne, and Egypt was unified into an early dynasty, from which Egyptian civilization was gradually formed. From the Third dynasty came the Old Kingdom, then the Middle Kingdom, then foreign usurpation, 18 dynasties were brought together to form a new kingdom, Alexander finally conquered Egypt in 332 BC. After Egypt entered the slavery society, the king (Pharaoh) was the supreme leader of the slave class, and also the incarnation of the Sun God and the Nile God. They are Kings of the earth while they live, and rulers of the underworld after they die. The religious belief of the Egyptians was that after death the soul simply left the body and floated in the universe, and if it returned to the body it could be resurrected. The king was a king in the underworld, but he wanted to enjoy all the happiness in the world. So he thought of painting all the things in the world on the wall of the tomb for enjoyment. In this way, the Egyptian art of painting was developed. Ancient Egyptian painting There are three styles of Egyptian painting. One is called "line carving", which is to carve the images of people or animals on the stone. These images are flat shapes, similar to painting shapes, which are actually a style of art between sculpture and painting. Another style is hieroglyphics. This hieroglyphics originally used a symbol to represent a physical object, and each symbol was a separate painting. Although later, hieroglyphs grew into the message, but always maintained a pictographic symbols, we now see them and the image of birds, lions and other animals and plants by real and vividly drawn, match the picture or relief on the background of the play a similar to the traditional Chinese painting "inscription" role, at the same time also on the image play a decorative role. It can be seen that ancient Egyptians also regarded calligraphy as an art. The third style of painting in ancient Egypt is the tomb wall painting, which is the most important form of painting in ancient Egypt.

Art Concept - Concept art Since the concrete artistic creation practices of the French "art revolutionaries" such as Cezanne and Toussaint impacted the traditional artistic creation practices, art has presented numerous and diverse forms in the glorious 20th century. Concept art appeared in the middle and late 1960s and became popular in Europe and America in the 1970s. The so-called conceptual art refers to a modern art form in which artists review theoretically the content and meaning of the word "art" and attempt to put forward a new definition of the concept of "art". Conceptual art is also known as "conceptual art". In the view of the conceptual artist, the history of the development of art is not all the history of artistic skill play. Therefore, we should establish a comprehensive concept of art. The central theory of artistic skill is only the main idea and behavior of artists in the 19th century and before. Art is art, art in essence, is a certain idea or contains profound thoughts of language expression or communication behavior. Therefore, the artist in the modern sense is to achieve the purpose of proving that art is art rather than mathematics through his own effective artistic creation and practice. As a result, modern artists no longer consider artistic technique superior or superior to artistic theory. On the contrary, it further clarifies and firms certain artistic theoretical concepts, which have the most direct and key influence and guidance on specific artistic creation and practice. In other words, the differences in various forms of modern art are caused by the differences between ideas and ideas. Therefore, conceptual artists, in order to show the inner spirit of the subject as comprehensively as possible, often present the concrete practical process of creation and the results of practical behavior to the audience in their creative practice. The audience can get a more comprehensive understanding of art and its works in the process of "checking" the whole three-dimensional artistic creation. Some of the most famous artists of concept art are Atkin, John Stocker, and Joseph Kassus (J. KOSUTH). Among them, Cassus is the most famous. In 1965, he enlarged a real life chair, a photographic photo of a chair, and copied the concept interpretation text of the dictionary entry on "chair", and then showed the three by juxtaposition in the title of "One and Three Chairs". Let the viewer start to check the physical object of the chair, until the concept of the chair, so that the viewer in the process of slowly checking the natural intuitive and rational formation of a complete understanding of the chair and concept definition. In concept art, in addition to concept art, there is also concept music. The two artistic ideas are basically the same. The forms of expression in concept music are also varied. If there is a music concert: when the performer sits in front of the piano and other instruments, he or she can not pronounce a single note during the limited time of the performance. The purpose is to let the audience in the amazed silence, with the passage of time, gradually hear the audience's own voice -- or the sound of moving footsteps, or the sound of whispering high and low, or the sound of the wind passing through the window of the theater...... And so on, so that the audience with a very rational, calm thinking to think about what "music" is. If the performer produces a sound, it may be just one -- or a "2" or a "6" or a "4" -- until the end of the performance or until you think it's time to stop. ... In short, these artistic actions of conceptual artists are all aimed at leading the audience to seriously rethink the question of what the real essence of art should be, which we have long taken for granted.

The concept of Art-performance Art.

Performance art is one of the modern art forms that emerged in Europe in the fifties and sixties of the 20th century. It means that the artist takes reality itself as the medium of artistic creation and continues it for a certain period of time. An artistic form that relies on specific environment and meaning to carry out artistic creation activities. Compared with easel painting, traditional sculpture and other arts that pay attention to the preservation of the results of artistic behavior, performance art emphasizes and pays more attention to the significance of the artist's behavior process, and it is a typical process art form with performance characteristics. As performance artists, most of them believe in the artist's personal freedom of artistic creation. Creative experience can only be achieved through openness. Only the impromptu practice of artistic creation without plot and integration with life can be obtained and realized. Therefore, performance art has the characteristics of open emotional performance. That is to say, the performance artist does not spend most of his time "alone" in the room to carry out his own artistic creation. But in the open spatio-temporal environment-- streets, squares. And other places, release their immediate and unrestrained feelings in public, and pay attention to and emphasize the quality of the behavior process. Therefore, performance art does not have the result of gestalt, such as easel painting; the process of behavior is the whole point of his works. Secondly, the generalization of art. With their own unique process of artistic creation, performance artists put the traditional art from the sacred temple of unattainable and elite culture to the "insipid" state in the eyes of ordinary audiences. Especially in some works, the general audience is invited to participate, which further dispels the psychological distance between the artist and the audience. It enhances the viewer's sense of identity to the artistic creation behavior, at the same time, the performance art emphasizes the behavior process, which objectively expands the single field of vision that the art pays attention to the behavior result to the field of full understanding and paying attention to the artistic behavior process. Thus it is helpful for people to have a complete understanding of the overall behavior of human art, which is in line with the artistic law and purpose of the development movement. Finally, performance art has the profound characteristics of ordinary art. That is to say, performance art is the "meaningful" behavior process display art of performance artists. When we talk about performance art, we break the traditional boundary between "art and non-art" and "art and life". Performance artists have invited the audience to participate in their specific works to jointly create works of art. None of this can be simply mistaken for-no matter who you want, you can do whatever you want, and then define it as the creative practice of "performance art". Performance art can only be an artist who is rich in artistic creative talent and courage, and the artistic creative behavior in the art field is not only a profound artistic thought, but also a profound symbol displayed by profound artistic thoughts. it is not a "real" insipid behavior that is not different from the behavior of daily life. Performance art is the artist's profound sexual behavior in the ordinary and meaningful "insipid".

Home decoration oil painting collection to preserve the knowledge Contemporary HOME MORE AND MORE OIL PAINTING AS THE ADORNMENT OF THE FAMILY, THE OLD ART THAT THIS KIND ORIGINATES FROM Europe CAN REFLECT MASTER'S QUIET AND ELEGANT TEMPERAMENT AND CULTURAL BREATH ADEQUATELY. But many people know little about the collection and preservation of oil paintings. Oil painting works experience the passage of time appear all kinds of aging problems. If a painting is preserved properly, the color will not change for hundreds of years, otherwise, the cracking, shedding and discoloration of the color layer may occur. 1. The painting must dry well. After the painting is finished, it takes one to two days or even a week to dry. If not dry, it is easy to damage. 2. Oil paintings must be framed. Oil painting due to movement, hanging, moving, the edge of the inevitable wear and tear, affect the effect of the painting. Therefore, the appropriate width of wood (aluminum) frame should be formulated in time, and the decorative pattern should be beautiful, elegant, and the color is harmonious. Can be equipped with glass better, the picture effect will be enhanced. 3. Oil paintings must be shielded from light. The first is to avoid direct sunlight, because ultraviolet light is easy to decompose the molecular structure in the pigment and fade, direct sunlight will make the painting quickly change color, the picture cracked. 4. Oil painting must be protected from moisture. The RESIDENTIAL WALL THAT BUILDS NEWLY DID NOT HAVE DRY, OR IT IS HANGING OIL PAINTING INSIDE DAMP ROOM, BASEMENT, PIT, CAN MAKE OIL PAINTING CANVAS FLACCID DEFORMATION, FADE, MOLDY, ROT EVEN. If you want to hang, must often open the window ventilation. Once the canvas is found to be slack, the painting should be transferred to a ventilated place to dry. If already born "mildew flower", usable clear WATER clean TOWEL wipe after air dry. In addition, avoid close to the kitchen, bath toilet or damp place, the general temperature to 20 ~ 25℃ and humidity of about 50%, and take ventilation as a consideration. So how do you protect your painting from damage? First, IF POSSIBLE, TWO LAYERS OF NATURAL BEESWAX DISSOLVED IN TURPENTINE CAN BE THINLY COATED ON THE BACK OF THE CANVAS, which can completely prevent the immersion of moist air and cause damage. Two, oil painting should avoid long-term direct sunlight, because ultraviolet light is very destructive to color, will cause fading and discoloration. Therefore, the painting should be hung on the wall where the sun does not directly shine. Three, the storage of oil painting room should pay attention to ventilation and moisture-proof, as far as possible from the bathroom, the kitchen, pay attention to prevent dust, smoke damage to the canvas, the room should maintain a certain temperature and humidity. Damp painting must slowly dry, avoid exposure, otherwise the picture is easy to fall off. Four, oil painting should not be affixed to the two pictures. Avoid the temperature rise to make the picture adhesion, resulting in paint off, damage to the picture. 5. When rolling oil painting, the canvas should face inward, the picture should face outward, and a layer of paper tube should be rolled outside, and then wrapped with plastic cloth to prevent the painting from cracking. Six, if the painting on the wall falls dust, you can use a slightly wet clean cloth to gently wipe. If there is oil smoke, you can use light soapy water and water to gently try to scrub, and then quickly sponge the water on the picture, and then gently blow the surface of the painting with an electric fan. If you encounter a long time, cracked oil painting, must use less water, local dry wipe can. If using a professional polish oil for oil painting maintenance, before spraying polish oil, use a clean cloth to wipe the picture clean. Seven, when the collection of hang. Oil PAINTING NAME MUST CHERISH, NO MATTER BE ON DISPLAY, ADORNMENT OR HOUSEHOLD ADORNMENT, CAN TAKE BE ON DISPLAY OR BE IN CERTAIN OCCASION WHEN NECESSARY WHEN HANG OUT, SHOULD PACK GOOD AT ORDINARY TIMES FOR COLLECTING Generally, oil paintings can be preserved for two or three hundred years, but with the passing of time, some paintings may crack after a few decades. If the collection is more, you can wrap the painting in plastic and put it in a wooden box to prevent hard damage. Oil painting collection, dust off, with a soft cloth on the oil painting cleaning agent wipe dirt; Every six months or a year, put in a cool and ventilated place to dry, can make the color recovery.

Chromium yellow, cadmium yellow, garcinia, earth yellow Chrome yellow is neutral lead chromate, a very nice warm color that is non-toxic. Lead chromate can be produced by different methods from the lightest lemon yellow, light yellow, medium yellow, dark yellow to orange. The chrome yellow on the market is colored with chrome, such as medium chrome yellow. Chrome yellow has strong coverage, opaque and dry fast, and its stability changes significantly with its color depth. The darker the color, the more durable it is. Light chrome yellow will become dark when heated or aged. Chrome yellow and universal blues and after stability will be improved, but chrome yellow can not be adjusted with sulfur color, after adjusting easy to dark black. Chrome yellow can not be mixed with lead white. Chrome yellow is now scarce on the market. The chemical composition of cadmium yellow is cadmium sulfide. Medium butter color is cadmium yellow, its light resistance is very good, can be long without discoloration, non-toxic, very stable, slow drying. In addition to medium yellow, light yellow, dark yellow and orange in oil painting colors are also cadmium or cadmium sulfide mixed with other pigments. These are very stable colors. There is also a cadmium-lemon yellow, which is much more stable than lemon yellow, but has a poor coloring power. It turns orange in direct sunlight. Cadmium YELLOW HAS a STRONG COVERAGE AND CAN be used IN harmony WITH almost ALL PIGMENTS. It reacts with uncommon copper pigments and tends to turn black after blending with chromium green, and its color will deepen after drying. Rhododendron mineral pigment is a natural iron containing compound, which can be synthesized artificially. Domestic gold Tuhuang, Tuhuang two kinds. Foreign production of light yellow and dark yellow, yellow color is the best stability, has a strong coloring power and coverage, after the dry layer of solid, can be mixed with any pigment. The stability of chrome yellow, cadmium yellow and GARcinia is not good enough. The permanent yellow made in China is more stable and can be used instead of other light yellow. In addition, cobalt yellow is a bright transparent color, relatively stable, but difficult to manufacture, and not easy to adjust with group green, not produced in China

Lead white, zinc white, titanium dioxide is different The chemical composition of lead white is lead carbonate, making oil painting color coverage is better. Lead powder is often used as a base material. Lead WHITE IS THE BEST WHITE pigment IN CURRENT OIL PAINTING color, pure lead white is very stable, IF the composition is not pure, after a long time will yellow, lead white oil painting color dry fast, dry color layer is solid, it is the best kind of white in European traditional oil painting color, many oil painting masters have used. But lead white has a very strong toxicity, even if the inhalation of dust containing lead white will also produce serious consequences, so the grinding of lead white will bring danger to people. Now the production of white oil paint for zinc white, titanium white or zinc titanium white. The chemical composition of zinc white is zinc oxide, known as zinc oxide powder. Zinc powder is slightly lighter than lead powder, white than lead, durable yellow, stable, dry after the color layer is stronger, but eat more oil, covering force is not strong lead white, dry slowly, easy to crack. European painters began using zinc white paint only in 1840. Zinc white will become lemon yellow when heated (in the sun), and will return to white when cooled. Zinc white is not toxic, it is cooler than lead white, and has a blue tendency. The chemical composition of titanium dioxide is titanium oxide, is an inert pigment, not affected by climatic conditions, has a strong coverage, is a pigment produced in modern times. Pure titanium white color dry quickly, dry easy to turn yellow, so often mixed with zinc white. Zinc titanium white can not only reduce the brittleness of zinc white, but also improve the disadvantage of titanium white alone. Titanium white and zinc white have the same advantages of non-toxic. Zinc titanium white is a large amount of white pigment at present.

What is alkyd pigment? Alkyd pigment is another synthetic pigment invented after acrylic pigment. The binder of this pigment is liquid alkyd resin. Although it is not like acrylic pigment once caused the interest of artists, but in today's foreign art supplies market, alkyd resin pigment with its unique advantages, more and more artists attention. (1) Alkyd resin paint, also known as "fast drying oil paint", in fact, it dries slower than acrylic paint, generally overnight the picture can be touched, a month later can be coated with varnish, for painters who do not like fast drying, this is a big advantage. (2) The drying process of oil painting is an oxidation process, and the oil film continues to oxidize after drying until aging. The drying process of alkyd resin and other polymerization pigments is the polymerization process, once the diluent (water, alcohol, etc.) volatilizes, the polymerization process is over. In theory, the color of polymeric pigments (including propylene) never changes when they dry. (3) The use of alkyd resin pigments is more flexible, and can be mixed with acrylic pigments. In a standard painting time, the painting is exactly the same as oil painting, except that the next day it can be lacquered or overpainted. (4) Each color in alkyd pigment dries at the same rate and is more uniform in appearance than oil paint. (5) its coloring layer has no "oil absorption" phenomenon, and the surface effect is exactly the same as the oil painting color coated with light oil, which is also the secret of the pigment. (6) the toughness of the colored layer is the same as propylene, and there is no tendency to crack. (7) Alkyd resin works have a deeper luster, which is closer to the texture of jewelry. (8) alkyd resin pigment is suitable for a variety of supporting materials. Paper, walls, plastic, glass and metal plates are all acceptable. (9) can be used alternately with oil paint. The best way is to use alkyd pigment as the base painting, and then use oil paint to paint the work. Of course, the two pigments can be mixed directly, which will speed up the drying of the oil paint. In addition, alkyd resin media can be used as oil paint blending agent, and different media for different painting methods. Note: The two must be fully reconciled. Alkyd resins offer a promising prospect for future oil paints. In order to meet the needs of artists, a variety of alkyd pigments and media appeared in the foreign market, providing artists with a wider range of painting space.

Theory of tonal 3 The French painter Mille, in his work "Evening Bell", with the hazy warm color, depicts two poor farmers after a day's hard work, standing in the air of the vast twilight should be in the distance of the church bell, praying for happiness to the God that does not exist. They are pious but ignorant, simple but ignorant, good but poor, and industrious but seldom fruitful, which is the true portrayal of the feelings of the poor but unenlightened peasants of 19th century France, and also the self-portrayal of Miller. The warm gray tone on the picture is very delicate and full of emotion: the hazy air sense seems to send out the aroma of the mud, the earth is also spreading to the distant horizon with the atmosphere in the hazy, we see ordinary people, ordinary environment, ordinary colors. I felt sincere, simple feelings. We should study not only life but also the experience of previous painters. Look at how the predecessors used tone language to express feelings. But the connection between color and emotion is extremely subtle and complex. All in all, the experience of our predecessors will never be regarded as a panacea. More can not rely on subjective thinking and reasoning, set some rules and regulations. Like when the Gang of Four took over the painting world, grey tones, dark tones and cold tones were forbidden, and could only be used to represent the old society. Today, HOWEVER, SOCIALISM CAN ONLY USE warm colors and bright colors, OR regardless of the uniformity of colors, the workers, peasants, soldiers and leaders are painted with scarlet faces, or the so-called red and bright colors are used everywhere with false affection. Works produced under the influence of such metaphysics not only poison the eyes of the audience, but also ensile the feelings of the painter, which can only lead to the decline and death of art. The connection between tone and people's emotions comes from life, and the painter can only explore new connections in life to enrich the expressive power of tone. In Li Huanmin's colorful woodcut "First Step on the Golden Road", the bright and warm yellow tone is condensed together with the joy of harvest of Tibetans. Although the warm yellow tone in Levitan's "Golden Autumn" also shows rich and quiet beauty, it is somewhat sad. In Repin's "The Volga Shepherd," the bright warm yellow tone does not make people feel the slightest joy and pleasure. On the contrary, it is expressed in the scorching sun, burning unbearably painful emotions, so as to reveal more deeply the slave-like conditions of this group of exploited and driven traymen. These are the same warm colors as the key, but the mood and feelings reflected in the picture is so different. It shows that tonal is by no means a mold that can be copied in large quantities, but a kaleidoscopic artistic means to express life and the feelings of painters. Color, emotion, artistic conception We study the relationship between tone and emotion in order to express emotion by using tone. Emotion is the soul of art. Without emotion, art has no life. People have feelings. But not everyone can be an artist. Love does not make art." "Meaning" is the concentrated visualization of "feeling". Artists are different from ordinary people because they are good at transforming feelings into "meaning" and creating works of art through artistic language. In Chinese painting theory, "idea" is the image transformation of "feeling". "Meaning" is the embryo of art in the author's mind, that is, conception. Only with mature conception and incubation can we be "confident" and "intend to write first". The idea of poetry and writing is through language. The idea of painting, through the image. And the idea of oil painting, through the image of color, through the tone. If the tone is appropriate, the "meaning" is clearly conveyed and the "feeling" is fully reflected. On the contrary, the tone is contradictory with the "meaning", and the "feeling" cannot be expressed. The Russian painter Savinsky's oil painting "Migration" is originally intended to show the tragic scene of the death of migrants on the way. But what the author uses is anacreONtic, downY warm color is Tonal, at the beginning look like the person that migrATES TO rest, sleep. There is no sense of sadness in the whole picture. On the contrary, the tone in the painting seems to be playing a light and bright tune, which has the opposite effect. Therefore, the idea of oil painting can not be separated from the tone, and the determination of tone can not be separated from the idea. The tone should be subject to the "idea". However, obedience to "meaning" cannot be understood as a negative adaptation or explanation. Some of the landscapes of the forest in the sun by the Russian landscape painter Hishkin have tones, but in those paintings the tones only stop at explaining the time and environment of the light. Although accurate and lifelike, it is only accurate and lifelike, the picture can not feel the connection between the author's feelings and the tone, the tone of the emotion is not clear. He only painted with color realistic, not lyrical, the picture lack of artistic conception. So tonal subject to the scene, can only achieve realism, tonal and "meaning" high unity, in order to show the artistic conception in the painting. Artistic conception is through the artistic image of the scene blend in order to achieve the poetic realm. The poets and painters of our country have always been most concerned with the artistic conception, advocating the paintings in the poems and the poems in the paintings. Think poetry is invisible painting, painting is tangible poetry, although oil painting is a foreign painting, but completely should and can do through the tone of poetic realm. "Ukrainian Evening" expresses the author's deep love for Ukrainian mountain villages through the color of scenery. It was the moment when the setting sun took the mountain. The sunset clung to the white cottage, and the cottage clung to the sunset. In this fleeting moment, the tone embodies the author's deep feeling. Make the picture like a quiet, beautiful, plain pastoral poem. Levitan's Vladimir Road presents a different mood: the sky is cloudy, the grass is withered everywhere, and the vast wilderness is almost empty of people. A bumpy road stretched to the distant horizon -- the exile of the revolutionaries, and everything was shrouded in melancholy. Can not help but make people remember, "gloomy thousands of miles coagulation" poem. The author's feelings deeply infect the audience through the gray tone of the picture. The hearts of the audience also follow the author's "meaning" to the distant horizon, and send deep sympathy to those exiled revolutionaries. How many viewers are deeply moved by this picture, and how many viewers still leave the picture with a heavy heart. The artistic conception brings the audience into the painting, and beyond the painting, providing the audience with a wide range of imagination. On poetry, ancient Chinese pointed out that "poetry expresses ambition". Su Dongpo believed that "poetry is poetry, must not be a poet". Tang Bai Juyi's famous saying: "The wildfire can not burn, the spring breeze blows again." It seems to describe natural phenomena on the surface, but it contains profound philosophy. It shows a resilience to struggle, it lets people see good and bad, good times and bad... The law of intertransformation, which makes the revolutionaries believe in the inevitability of victory when they are at the low ebb of revolution, and it makes the people who have been unfairly treated see hope. And so persevered, struggled, waited. A good painting, also should not be "painting is painting", but should have a meaning. Should make the viewer feel, have excited, have association, have enlightenment. To make the viewer endless fun, never tired of seeing. This is the result of the combination of profound thought and high artistic quality. This kind of work has a deep appeal. "Vladimir Road" is one of many excellent works of this kind. Its tone plays an extraordinary role in the mood and artistic conception of the picture. It is the specialty of oil painting to express artistic conception through tone, but it does not work in isolation when expressing artistic conception. It is always attached to the concrete image and play its power, leaving the modeling image, isolated tone is incomprehensible. Imagine Vladimir Road, if there is no such road, no such wilderness, no such sky, just a few clumps of color, a few groups of color blocks, how can it deeply move the audience? How can people associate? So we can not exaggerate the role of the tone to an inappropriate position. Through tone lyric and performance of artistic conception, oil painters should have a high degree of skills. Of course, skill is not an end. Skill for skill's sake. The use of tonal skills is to better lyric freehand brushwork, focus on highlighting the image, artistic conception. But we are not "sentimentality", as long as there is love everything is fine. All the great artists in history are great, not only because he has feelings, and not only because he has a high skill in translating feelings into meaning. It's all very important, though. What is more important is that the feelings he expresses are progressive, noble, representative of the people, and sincere. Leonardo Da Vinci, the great painter of the Renaissance, poured his sincere feelings into the painting of the portrait Mona Lisa. This dignified, healthy, demure, gentle, confident woman is a portrait of class, the embodiment of the ideal beauty of the emerging bourgeoisie. It's a challenge to medieval notions of morbid beauty. Delacroix's "The Massacre of the Island of Sia" is a complaint written for the invaded, oppressed and slaughtered Greek people, but also for all the invaded and oppressed people justice. The Levitan re

The transformation of natural images and artistic images The image in any work of art is carried out under the perspective of man as the subject, which permeates the artist's unique aesthetic concept and spiritual value. Under the mental emotional about, the artist's visual selection are changing, in the natural looking for meets the needs of their own emotional and spiritual value corresponding to the form and language in the process of the artist's inner aesthetic also changed accordingly, and this change is mapped to the artist's visual selection methods and forms, therefore, The various transformations of visual forms in art history also reflect the inevitability of aesthetic development in their respective periods. The influence of artistic visual choice on the transformation from objective object image to artistic image is a matter that needs to be discussed in artistic creation. In the following, I would like to discuss this issue by analyzing typical artistic images from several periods in the history of art. https: In the religious fanaticism of the Middle Ages, people were confined in their "mental prisons", unable to see the darkness and inspired by a devotion to God. The description of hell in flames and the religious concept of bright heaven and paradise are the sources and forces that inspire painters to create. Many painters approach painting with this ideological belief. Of course, they do not pay attention to the true description of natural objects, but pay attention to listen to the picture and the call of the soul. They use lines, shapes and colors to build another world besides nature, expressing the religious spirit of artists. From the organization of the picture itself and the expression of the image, we can taste its own intrinsic value, which is also the way and frame of the transformation of natural images by artists at that time. We can say that this religious atmosphere creates a "mental prison" in the artist's heart, and it is this "mental prison" that restricts the freedom of the soul and the sublimation of the spirit. But with the advent of the latter stage of humanism, a passion developed. Renaissance painting is guided by the spirit of science. The images made up of observable light and shadow and shapes entice us to capture what is visible and elusive in nature, that is, to find out part of human nature in the objective images. Painter from objective image translation of the images that appear to clear - maybe we will immediately recognize they belong to us in real life there have been part of that we produce's perception of a reliable, more human nature is accompanied with the surface of the subject and objective image, content and form of transformation into a motif. Leonardo Da Vinci's masterpiece "Mona Lisa", embodies the rational modeling features, and eternal virgin holy picture charming smile, although with the religion in the middle ages, but the accurate portrayal of the human body structure, leonardo Da Vinci and the processing of ideal performance of light and space, make the picture again in real life, the image of the female's gentle and kind. The sculptures and frescoes of Michelangelo, a master of all kinds, reflect the precise anatomy and real physical structure, and the rational arrangement of the degree and quantity of the human body, so that its image forms a compact and powerful coherence. The works also greatly strengthen the molding power and internal tension of line and form, fully reflecting the great body and tragic heroic spirit, such as David, Night and other works. Michelangelo these image not only has real simulation to the object, and it also implies the real "unlike", the image of the body after the artist rational processing, sometimes to go with a generous, through art language transform nature as human's ideal image, reflected the Renaissance rational humanism color. In the Renaissance, artists consciously used science and reason in the transformation of images, while some philosophers tried hard to find the "mathematical relation" behind the transformation and creation -- a kind of law or rational idea relatively independent of the concrete image, and made it become the law in the transformation and aesthetic norms in the appreciation. Such as "body proportion", and they advocated the "golden division" and so on. These mathematical proportional relations extracted from natural images were applied to the transformation of images by painters, so that specific formal features were always rationally incorporated into realistic shapes and picture compositions at that time, and the regularity, rigor and calmness of image lines, shapes and colors were controlled with a scientific rationality. On the analysis of art works in the Renaissance period, we can say that if the painter wants to obtain the ideal image, he must make the object image and its relationship subjective and purposeful inductive, adding, changing. To some extent, it changes the reality image and its dependence, and transforms it into an ideal image format that conforms to the artist's spiritual feelings. Therefore, the rational intervention in painting, painting to a certain extent estranged, deviated from the reality of the object, this kind of rational "mathematical relationship" on the painting of the transformation of the norm, has long been a major western painting transformation mode, the impact is far-reaching. The flourishing period of Impressionism in the 19th century was a period of rapid development of western social economy, science and technology. Industrial production influenced and changed artists' aesthetic concepts and spiritual beliefs from the subconscious. In order to adapt to and performance of a new life experience, they hide an uneasy heart, their eyes in nervously looking for something with your empathy, medieval ghost has subsided, dreams of the enlightenment and humane passion by industrial civilization to shatter against the monster, the new question in producing, new way of artistic expression is produced. The impressionist pioneer Manet, whose monumental Olympia, in both content and form, attacked the traditional way of painting, did not have the peaceful ease of Titian's Vernus. The picture caused anxiety at the time, because people were accustomed to admiring the elegant goddess lying on the bed, and could not tolerate the painting depicting the naked form of a young girl. Although the nudes of ordinary girls are qualitatively the same as the nudes of goddesses, people insist on this dividing line. The theme and purpose of Manet's works are precisely to expose this line of hypocrisy. His figures live in the light of real life. The interpenetration and intertransformation between colors of objects and images. The emphasis on pure and objective description reduces the subject matter to the status of painting tone, makes the picture with the sense of reality of life, and breaks the boundary between sketching and creation. Monet, the master of color in Impressionism, is a follower and admirer of light. In the world In Monet's eyes, everything is interpreted as an illusion of light. It does not matter whether it is a church, a haystack, or a lotus pond, because what he sees is the shape and color of the object -- an illusion created by the pulsating light and atmosphere and distance. His works "Church" and "Haystack," the dark blue and purple and bright yellow, scientific contrast is appropriate, and can be expressed in harmony. We can be sure that it contains elements of Monet's subjective epistemological judgment. Otherwise, churches and haystacks would not look like Monet's picture. Science and the principle of optical further found that the impressionists pays attention to the more intense of nature, they use eye observation of the natural object in detail, and according to the principle of optics, the analysis of various relations and reorganize the object, the object from the original meaning, and into the light and color are intertwined, the color and shape both play a role, together create artistic conception. To sum up, we can think that painters' understanding of the transformation between objective objects and artistic images in their specific environment reflects their unique aesthetic concepts and spiritual values. The Middle Ages were marked by their fanatical religious ideas. The transformation of Renaissance revolves around humanism, and is carried out with rational and controllable light and shadow, proportion and form. The transformation from object to image of Impressionism is based on the discovery of optical principles as the fulcrum, so that the content of the painting to the form as far as possible in line with their aesthetic ideas. This process of change is the sublimation process from the limited "mental prison" to the infinite freedom, and is also an important development process of art history. Today, reexamining the antecedents and consequences of this process in art history helps us to constantly update our ideas and continue to find the harmony between spiritual freedom and natural expression. Understanding this point will have positive significance for our future creation and the direction of easel painting.