Venetian school of painting One of the major schools of Italian Renaissance painting. Venetian School of painting arose in the second half of the 15th century, and its rise was inseparable from the economic prosperity of Venice at that time. About in the 13th century, Venice has established the earliest city republic in Europe. In the 14th century, the Republic of Venice was the center of trade between Europe and the East, with concentrated commercial capital and strong national power. The Venetian School became the center of European oil painting creation in the 16th century. As Venice was a commercial republic, it was inevitable that the arts and culture of Venice would flourish to meet the needs of merchants and dignitaries. At that time, painting was exported as a commodity, and the Venetian Republic did not obey the Pope, so artists enjoyed greater freedom in artistic creation, which made it possible for the Venetian School of painting to be born. At that time, painters created art with a strong idea of pleasure, formed the region's unique style of painting, so it is called the "Venetian school". Art is influenced by Byzantium and Northern Europe. Absorbed in the fifteenth century the experience of the Florentine school of Mantanner, through the efforts of the Bellini family, Carpaccio (c. 1465-c. 1526), Antonello da Messina (c. 1430-1479) and others, the use of the government and the church, Scula, in particular, helped develop the art of painting. This school of painting is one of the most distinctive painting schools with other painting schools, it is a new kind of painting art school based on color expression. This school of painting reflects humanism and patriotism. Its paintings have bright colors, plump images and novel compositions, but most of them depict the luxurious life of the ruling class with the theme of religious mythology. They were represented by Giorgio, Titian, Tintoretto and Veronese. Until the 18th century, there were painters such as Tieporo, Canaletto (1697-1768) and Guardi (1712-1793). Their work had a great influence on European painting. The Venetian school showed that painters paid less attention to sculptural forms and hard contours, and more to nuances of color and light. From the very beginning it had a mild lyrical style that was quite different from the Florentine tradition. In short, the Venetian School has the following artistic characteristics: painters pay attention to the color when painting, the color is rich and full of changes, they attach importance to the description of natural scenery; There were more women than men, and angels, Christ and the Virgin were also painted. However, the pictures did not show the miserable and sad faces of suffering. The figures in the pictures were plump and well-dressed, with delicate and white skin, which were regarded as idealized figures. Another characteristic of the Venetian school is that it is highly decorative. Titian was the most outstanding artistic master of the Venetian school, and his artistic achievements made Venetian painting reach its peak. Titian inherited and carried forward the artistic style of the Venetian school, paying attention to the color, brush strokes, modeling and other factors of the works. In his middle age, his painting style was meticulous, steady and cheerful, while in his old age, he used bold, idealistic, bright and magnificent colors. Titian's color is not traditional, not conformist, smooth and free with the pen, his expression of color reached the peak of the Venetian school of painting. The characteristic of his works is called golden tone. Titian's portraits can be said to be a collection of predecessors. He is not only good at shaping the appearance of characters, but also good at digging the inner world of characters. Each of his portraits has distinct personality characteristics and thought-provoking spiritual realm. His works "Goddess of Flowers" based on Roman mythology, the author created a young girl in the world, her image is beautiful, charming, dignified, lofty, the whole picture bright color, composition easy eye-catching, the plump and round body in the painting, showing the fullness and maturity of the light. Titian created a perfect image of a woman in this work, his purpose is to praise the female beauty under the humanistic spirit. His works spearheaded the rise of Baroque art in the 17th century.

Venetian school of painting One of the major schools of Italian Renaissance painting. Venetian School of painting arose in the second half of the 15th century, and its rise was inseparable from the economic prosperity of Venice at that time. About in the 13th century, Venice has established the earliest city republic in Europe. In the 14th century, the Republic of Venice was the center of trade between Europe and the East, with concentrated commercial capital and strong national power. The Venetian School became the center of European oil painting creation in the 16th century. As Venice was a commercial republic, it was inevitable that the arts and culture of Venice would flourish to meet the needs of merchants and dignitaries. At that time, painting was exported as a commodity, and the Venetian Republic did not obey the Pope, so artists enjoyed greater freedom in artistic creation, which made it possible for the Venetian School of painting to be born. At that time, painters created art with a strong idea of pleasure, formed the region's unique style of painting, so it is called the "Venetian school". Art is influenced by Byzantium and Northern Europe. Absorbed in the fifteenth century the experience of the Florentine school of Mantanner, through the efforts of the Bellini family, Carpaccio (c. 1465-c. 1526), Antonello da Messina (c. 1430-1479) and others, the use of the government and the church, Scula, in particular, helped develop the art of painting. This school of painting is one of the most distinctive painting schools with other painting schools, it is a new kind of painting art school based on color expression. This school of painting reflects humanism and patriotism. Its paintings have bright colors, plump images and novel compositions, but most of them depict the luxurious life of the ruling class with the theme of religious mythology. They were represented by Giorgio, Titian, Tintoretto and Veronese. Until the 18th century, there were painters such as Tieporo, Canaletto (1697-1768) and Guardi (1712-1793). Their work had a great influence on European painting. The Venetian school showed that painters paid less attention to sculptural forms and hard contours, and more to nuances of color and light. From the very beginning it had a mild lyrical style that was quite different from the Florentine tradition. In short, the Venetian School has the following artistic characteristics: painters pay attention to the color when painting, the color is rich and full of changes, they attach importance to the description of natural scenery; There were more women than men, and angels, Christ and the Virgin were also painted. However, the pictures did not show the miserable and sad faces of suffering. The figures in the pictures were plump and well-dressed, with delicate and white skin, which were regarded as idealized figures. Another characteristic of the Venetian school is that it is highly decorative. Titian was the most outstanding artistic master of the Venetian school, and his artistic achievements made Venetian painting reach its peak. Titian inherited and carried forward the artistic style of the Venetian school, paying attention to the color, brush strokes, modeling and other factors of the works. In his middle age, his painting style was meticulous, steady and cheerful, while in his old age, he used bold, idealistic, bright and magnificent colors. Titian's color is not traditional, not conformist, smooth and free with the pen, his expression of color reached the peak of the Venetian school of painting. The characteristic of his works is called golden tone. Titian's portraits can be said to be a collection of predecessors. He is not only good at shaping the appearance of characters, but also good at digging the inner world of characters. Each of his portraits has distinct personality characteristics and thought-provoking spiritual realm. His works "Goddess of Flowers" based on Roman mythology, the author created a young girl in the world, her image is beautiful, charming, dignified, lofty, the whole picture bright color, composition easy eye-catching, the plump and round body in the painting, showing the fullness and maturity of the light. Titian created a perfect image of a woman in this work, his purpose is to praise the female beauty under the humanistic spirit. His works spearheaded the rise of Baroque art in the 17th century.

Florentine school Renaissance Italy: There are many city states, besides the famous Florence, Venice, Rome, but also Ferrara, Padua, Siena, Milan... From the perspective of art circles, due to the regional, national, social conditions and political, economic, national traditions, national fashion also formed different styles of art schools, such as Florentine school, Venetian school, Roman school, Ferrara school, Siena school...... The Florentine School of painting was an important school formed in the economic and cultural center of Florence during the Italian Renaissance. It was one of the most influential art schools in Italy during the Renaissance. This school is dominated by the humanistic thought in the period of the rise of the bourgeoisie. It uses scientific methods to explore the modeling rules of the human body. It absorbs the carving techniques of ancient Greece and Rome and applies them to painting. Florentine school of painting paid attention to sketch and line modeling, paid attention to rationality, and pursued a rigorous and lofty style. In the subject matter mainly of religious mythology, the abstract god image was painted as a secularized ideal person in line with the requirements of the emerging bourgeoisie, and successfully created a new style of figure painting. In addition to oil painting, large scale frescoes were created, which mainly served the court, the church and the upper bourgeoisie, thus changing the face of medieval European painting. The early representative painters were Giotto, Masaccio, Uccello (1394-1475), etc. In the heyday, Da Vinci, Michelangelo, Raphael and other painters represented, and the last painter of the Florentine school of painting, "Bucket" Botticelli. The 15th-1530s were the most prosperous; Since the middle of the 15th century, the Florentine school of painting has been declining and replaced by the Roman School with Rome as its center. At the end of the 16th century, due to the loss of political independence of Florence, economic decline, and the result of the artist's blind worship of predecessors, gradually towards the style.

How to paint an oil painting? General production procedure When it comes to making program, we have to emphasize production program is for each artist himself first, desires and habits, the purpose of the method is concerned, it is not absolute, fixed rules, we can only on the basis of the traditional painting period is the most common and representative techniques to get a regular understanding and experience. We can not list all the techniques of classical artists, but can only explain the common and substantial things in their techniques for reference. In particular, each artist has many different characteristics in the production process. However, as the whole system of traditional classical oil painting, it also has some general points in common. Therefore, it can only be briefly summarized as follows. 1, with the line shape Using lines to open shapes is a common method used by painters in the initial stage of painting since ancient times. Since the original painting, line modeling has become an effective way for people to generalize complex shapes, because lines are the representation of the boundary of shapes, which can divide the area of different shapes, show the relationship between different volumes, and more importantly, obtain people's perceptual and rational recognition of shapes. Therefore, no matter how complex the final effect of oil painting is in terms of layers and color levels, the refining and generalization of lines in the initial stage is of great importance. It is first manifested in the setting of the large composition, and then in the positioning and depiction of various forms. Therefore, the composition and arrangement of large shapes must be basically established in this stage, while few changes are made in the later stage, which is the rigorous expression of the traditional oil painting in the formation, so the initial formation must be strict and considerate. From the sketches of classical masters, we can see their generalization and expression of body, and we can also see that their sketches directly serve for the formation of oil painting, rather than exist as independent aesthetic value. At that time, most of the sketches were based on lines, and there were few tonal layers. In addition to the interspersed edges to show the body, it was to simply express the volume and light and shadow relationship in the picture by turning or light-dark boundary. This concise form of line drawing is more suitable for complex and detailed oil painting in the initial stage of succinct formation. Most of the ancient painters sketched directly with paper, and then painted charcoal or toner on the back of the paper to copy the sketch to the canvas on which the base was made. This method is suitable for painters with a very strict style of modeling, which can not only safely obtain accurate modeling, but also avoid damaging the surface of the canvas as a direct sketch on the canvas. There are also methods to draw a sketch relationship directly with tanperla or turpentine and paint on the canvas, but the most common is to use toner or charcoal copy shape and then use tanperla or turpentine paint to paint a monochromatic thin oil effect. Of course, the purpose of Kai Kai is to lay a foundation of form for the work. In order to achieve accurate and fine final effect, Kai Kai must strictly and clearly explain the basic content of the form in the sketch. This procedure often determines the success of the subsequent in-depth depiction. But in the traditional oil painting, some painters only draw the big relationship, big momentum, loose line, some approximate scrawl, and will be accurate and specific things in the later stage to step by step, so that often can get some unexpected vivid effect. However, these two methods and post-production also have a great relationship, if it is in the color stage to be carried out locally one by one, it is best to describe the shape of the line sufficiently and accurately, but if it is the color of the whole method, it is best to use flexible and not too careful with the line shape. 2, the first time spread color The main purpose of the first pass is to succinctly draw large color areas, large physical relations, and lay a good foundation for the later texture, color layer. The large shape relationship here refers to the generalization and overall treatment of all shapes in the picture, leaving out small details and small changes in the sense of sketch, reducing the level of light and shade, and even the volume, fluctuation can be summarized as a large area of planarization effect and generalization. Large color area refers to the color of all kinds of small changes simplified into the basic inherent color tendency, and color changes and inherent color details are as far as possible to summarize to the large inherent color. From the texture point of view, this first overlay should be as subtle as possible, with uniform thickness and natural connection, and should not show the texture of the final effect too early. If it has been drawn, it can be softened with a fan pen or removed with a painting knife, so as to prepare for real shaping later. From the color layer, this layer of color should be as far as possible compared with the final effect of a few powder, gray, that is to say, do not draw the purity of color and contrast to the final effect, so you can give later cover dye leave room. Should use less as far as possible and this color palette oil, should be given priority to with turpentine or add a few color mixing thin oil painted every color gamut, each part should not leak, including shadow, also want to use this powder containing oil and less toning color layer at the bottom, because including color powder more and less oil layer has good absorbency, hood of pure color in spite of the heavy oil will not sticky, Moreover, after synthesizing with the background color layer, the purity and hue accuracy can be obtained properly. 3. Step by step Shaping refers to the rough plane effect of the first spread of color with brush strokes from large to small volume, the purpose is to make the shape and color gradually clear, real. Since the first pass of color is likely to almost cover the lines of the shape, it requires us to use a certain color difference of the heavy color to delineate again, determine the outline and structure of the body, at the same time, from the dark part of the drawing to the light part of the gradual shaping. Specifically speaking, the shaping stage has several aspects of significance, the first is of course from plane sense to volume sense asymptotic, complete the task of sketch; Second, the gap can be gradually established in terms of texture. That is, the strength of the texture and volume ups and downs are unified, showing that the muscle volume is obvious part is the high point or strong part of the body; Thirdly, color changes can be taken into account at the same time by shaping the shape of the stroke changes. Shape is a step by step, don't the beginning to come up with the final result, the most strong brush strokes, and should have to consider every picture again to next time smoothly, because from the skin texture and paint adhesion, skin texture against after early to finalize the design phase of the correction, and began to YanLiaoCeng too thick to form strong smooth conjunctiva, unfavorable to stage after color layer adhesion, Therefore, the shaping must be carried out layer by layer from thin to thick, and at the same time, the principle of "fat cover is thin" must still be observed on the oil, so that the color layer with more color oil is left in the transparent cover after dyeing. Shape must have a target, and should not be thick paint. It must be done to the strength of the body, the strength of the texture, the contrast of the dark part of the light part have a considerable grasp and consideration to carry out. Should CONTROL THE RELATIVE RANGE OF THICK COLOR FOR INSTANCE, MUST NOT EXPAND THE RANGE THAT SHAPES ARBITRARILY, AND CAUSE THE CHAOS THAT TEXTURE AND BODY FEEL. Generally speaking, it is to grasp the high point or bright part as far as possible to shape the brush, and treat the dark part and the middle level should be soft and pay attention to cohesion, the thickness of the color layer should be relatively thin. Of course, the brush strokes are also relative. In some painters, the difference between the strength of the brush strokes is very large, while other painters like to control the gap in the subtle span. But generally speaking, there is no lack of shaping this stage, otherwise, the painting can not produce the unique expression of the form of the sense of reality. In shaping the color of this stage relative to the first spread color, purity should be higher, but also can not achieve the final effect all of a sudden, also want to cover dyeing room, relative to the first color, in the hue can be from large to small to seek changes and characteristics. Including the bright and dark part of the cold and warm changes and inherent color hue changes. In addition to the change of brush strokes in shaping, the difference of color is gradually revealed at this time. 4. Cover dyeing and re-shaping In the traditional techniques of classical oil painting, dyeing and shaping are alternated and complementary to each other, which makes oil painting has a strong expressive force. If there is no foundation containing powder thick color, pure cover dyeing is impossible to convey the level of color in purity, because only transparent color is unable to show various degrees of gray changes, more unable to show the difference in texture. On the contrary, it is impossible to obtain both transparency in color and flexibility in purity with the direct painting method, and it can not form a rich sense of color layer, let alone a sense of overall enveloping atmosphere. In the production process of traditional oil pa

Oil painting Tips On a world scale, the art of painting has a strong background in Russia, but due to various reasons such as politics, economy, Russian oil paintings than in other European countries, of the price gap is very wide, and even the price of a lot of modern art, more than the price of our domestic some art is much less. However, although the price of Russian oil painting is not high, it is not inferior in artistic aspect, and its value is in the process of being discovered by people. Oil painting was actually produced more than 600 years ago, originated in Europe, and evolved from mosaics and murals. Painting on wood or cloth, as an important component of Western culture, oil painting occupies an unshakable position. Oil painting arose at the end of the Middle Ages and grew up together with the great Renaissance. After several hundred years of development, it has formed many schools and created a large number of great artists such as Repin, Surikov, Da Vinci, Durer, Ingres and Picasso. Oil painting has strong expressive force and artistic effect, rich color changes, transparent, thick layer contrast, endless changes in the brush texture, and its solid durability (can be stored for hundreds of years without change), making oil painting almost all the painting genre. Russian oil painting originated in the 18th century AD Peter the Great period, it has both Eastern and Western cultural colors, vivid realistic painting concept, deep, thick, atmospheric, has a strong idealistic feelings. Russia is a nation that loves art and painting. Painting works have high artistic quality and express a strong Russian style.

Process flow of simulation oil painting on canvas Simulation oil painting on canvas refers to the decorative painting that uses modern printing technology to reproduce the art of oil painting on canvas. It has the following characteristics: 1. Real print on cloth. All kinds of techniques are printed directly on oil painting cloth, and the natural texture effect of canvas fiber itself is used to create strong different color reflection, produce the visual effect of real three-dimensional oil painting, and reproduce the texture effect of original oil painting realistically. 2. The canvas material is resistant to tension, tension, water and dust, and can be stored for a long time. It has longer collection time and more collection value than the reproduction oil painting printed on paper and other materials. 3. Copy by special printing process. The same original painting can be copied in large quantities, which can not only meet the needs of customers for decorative paintings with high cost performance, but also provide convenience for mass procurement. 4. The post-production of pure manual brushwork makes the picture more realistic. Simulation oil painting surface ups and downs, like the original painting. Several types of canvas simulation oil painting: 1. Common type: through the conventional color gamut, using 4-6 color printing, post stroke production. The advantages of this product are: suitable for mass printing, exquisite picture, strong texture effect, brush effect. Disadvantage is: product color slightly plain. 2. Collection type: by expanding the color gamut, using 4 colors or above printing, post production brushwork. The advantages of this product are: full screen printing production, suitable for large quantities of printing. The products have reached collectible standards in the West. The color gamut of the picture is wider than the ordinary type, the color is more vivid and saturated, reaching the Giclee standard. Brush strokes work better. Disadvantage is: the exquisite degree of product and texture effect drops slightly. This product basically has not grasped the comprehensive production technology manufacturers. 3. Copy type: comprehensive use of various techniques and techniques, comprehensive brush treatment in the later stage, to achieve the same effect as the original work. Suitable for small batch, limited copy, signature copy and other aspects of product production.

How to hang the oil painting on the wall. The bedroom furnishings of modern decoration style are mainly decorated with Western-style oil painting, gouache painting, photography painting, landscape painting and so on. Because, the display of these works of art has no fixed pattern, relatively free, in oil painting art decoration, some rules must be paid attention to, otherwise there will be the mistake of imitating.

Rule 1: when hanging an oil painting, the height of the hanging painting should be adjusted according to the height of the living room, the important thing is according to the light condition of the living room, because the oil painting is very easy to reflect light, if directly facing the positive light source, it will affect the angle of the picture. In order to achieve a better visual effect, the light above the front of the side is used to make the light source of the hanging place consistent with the light source painted.

Rule 2 the height of the painting should be 1.5-1.8m above the ground. There is a golden section method to determine the height of the oil painting. The central position of the oil painting is at the golden section of 0.618 of the height of the wall. Because the suspension is too low, it is not conducive to the protection and appreciation of the picture, and the suspension is too high, which makes the viewer look up, which will cause the picture to produce perspective deformation.

Rule 3: if you want to hang more than one oil painting, you should consider the distance between the painting and the painting. For oil paintings with the same frame, the spacing should be the same, but it is not suitable to arrange and hang regularly, there is a certain sense of stagger, so that the whole picture has a cold and warm change. For works with inconsistent frames, we should pay attention to the neatness of the bottom edge and the consistent inclination of the picture. Larger works should have a certain space distance to facilitate long-distance appreciation.

Rule 4 oil painting had better not be installed in a glass frame display, although the glass is beneficial to the protection of the picture, but the glass is easier to reflect, affecting the viewing effect. When hanging, there can be no lanyard to expose the picture frame, that is, the so-called secret hanging, which is different from the hanging of picture works.

Oil painting on glass belongs to miscellaneous categories. From a cold eye, it is just painting oil painting on glass, framed with wood seat placed on the case, or hung on the wall with wood edge. It is not an elegant instrument, and the time is mostly the late Qing Dynasty and the Republic of China. Glass oil painting looks ordinary, in fact, it also has a lot of knowledge in it. Whenever we are faced with a cultural relic, no matter big or small, the big one may be a grotto, the small one may be a plaything in our hands. First of all, we need to identify the age, material, work purpose and so on, and master a lot of knowledge of cultural relics. The knowledge of glass oil painting is that it is painted on glass color oil painting, this technique has been in the Ming Dynasty, its characteristics are thin glass, no impurities. Glass is pure natural, relatively uniform, wood frame or wood frame, carving is very simple. Unfortunately, because glass is fragile and not easy to preserve, it can be seen in the late Qing Dynasty or the Republic of China. The characteristic of glass oil painting in late Qing Dynasty is that the glass thickness is moderate. Remember one thing, the thinner the glass, the earlier the age, commonly known as "good year", and the good year is more produced in the south of Guangdong, the glass color is white without impurities, the painting is also relatively fine, the pattern has knife horse landscape figures. In terms of its value, the value of pictures is higher, and the value of many characters in a story is higher than that of a single character. The value of glass oil paintings during the Qianlong period is higher, because the oil paintings at this time are not only because of the early age and have a higher value, but also because of its fine painting, most of the oil paintings are with land, and add gold or silver color, the most famous painter is Huang Dasheng of Guangdong, his oil color is thick and colorful and has old meaning. In the period of the Republic of China, some of the oil paintings are fine, while most of the glass is thick and the painting is thick. Especially, the faces of the characters are not very fine. The thickness of the applied oil color is uneven, and often the oil color is not applied to the ground. Varieties are mostly large screen, insert, hang screen, and so on, and the wood seat of the insert is more firewood or hard wood, some in the wood seat perturbed pattern, and the original glass oil painting of the wood seat is very rare, so the insert with a wooden frame than hang screen value is much higher. Because the glass oil painting is not easy to preserve, so often ignore the collection, in today's exquisite and complete glass oil painting is very rare, the secondhand market can sometimes be seen, but the painter is relatively rough, good glass oil painting properly preserved, there is also room for appreciation.

How to hold oil brushes and palettes? (1) the method of holding the oil brush The brush is the main tool used by the painter to paint. When the painter holds the pen to paint, the hand, wrist and arm should be naturally extended. When details are drawn, the front of the penholder is usually held. When laying color on a large area, generally hold the end of the brush. There are six specific ways to use a pen. ① The method of holding the pen in the thin drawing method is to hold the end of the pen with ease of gesture and ease of rubbing with the pen. Auxiliary large tone, commonly used this method. ② belongs to the conventional brush holding method. Grasp the center of the brush with your fingers. ③ Hold the pen in the palm of your hand. (2) and (3) two conventional methods of holding the pen are used alternately, which is the most used method by painters. ④ In dry painting or original painting, the brush should be caught in the palm of the hand, so that the penholder and the picture are almost in parallel. Painting with arms, with a certain amount of force. ⑤ This brush holding method is especially suitable for delicate detail processing. Fingers hold the front end of the brush close to the gold hoop. This method is used when drawing details with a fine mink brush. ⑥ The position of the finger pinch pen is far away from the metal hoop, and it is easier to carry the pen. Pointillism often uses this method of holding the pen. You can use either the nib or the side of the brush on the canvas, using the side of the bristles. (2) the method of holding the palette. Most modern painters like to put the palette on the table for color mixing, painting large works or field painting, using the palette. The traditional way of holding the palette is shown in Figure 8, with the cloth in the hand used to wipe the pen.

What are the types and functions of oil painting case? Oil painting box is one of the painter's important tools for painting, mostly wood. (1) The most common form of oil painting box. There are three retractable opening and closing legs that can lift the box to a certain height. The box can store paint, brush, scraper, toner, brush paper and other painting supplies. The palette can be packed into the box without removing the remaining pigment, without contaminating other items. There is also a spare board inside the lid for storing small cardboard drawings that have not dried when you go out to sketch. The lid, which tilts back and forth, serves as an easel. (2) Oil cases used by European painters in the 19th century, produced in factories, sold and widely adopted by painters. (3) small oil painting box. Light, solid, much favored by some painters. (4) The most practical landscape painting small color draft. (5) Plastic oil painting case with internal mould. (6) Oil case with small easel. The characteristic of this kind of frame oil painting box is that the painter can make the picture tilt according to his desire; Can be adjusted to fix the painting of different sizes, but the painting size can not exceed 92cm×65cm; The height can be adjusted by folding the leg frame; The paint drawer can be left half open so that there is a firm platform on which to put the palette; Picture frame type oil painting case, left out the painter to go out sketching should take easel to want to take picture case again already trouble.

Surprise fake Enemy nuclear explosion spawned new techniques for oil painting identification Nuclear explosions released two particular isotopes, cesium 137 and strontium 90, which permeated the earth's soil and plants, and were found in all the oil paintings created after the war. One can thus draw a line under the identification of modern and contemporary art. Many people, however, are resistant to the technology because so many people's interests are tied up in fakes. A former director of the Russian National Museum, Dr. Elena Basner, recently discovered a new technique for identifying paintings, in which nuclear explosions during World War II played a key role. The technique will allow for the first time a clear distinction between paintings created around 1945. Dr. Besner noted that nuclear explosions in the 1940s and 1950s released two particular isotopes, cesium 137 and strontium 90. They permeate the earth's soils, plants and animals, and are present in all postwar oil paintings, because natural oils, the cementants used in those paintings, are also permeated by these two isotopes. Before nuclear explosions, these two isotopes had never been found in nature. So if experts found these two isotopes in a pre-1945 painting, there would be only one conclusion -- that the painting was a post-1945 fake. After the technique was patented, the first paintings to be identified were those of the Russian avant-garde. The paintings were produced between 1900 and 1930. Forgeries began appearing after the 1960s, and as the market for avant-garde paintings heated up in the 1980s and 1990s, they proliferated. "Forgeries of avant-garde paintings now even outnumber originals." Dr. Bessner has been director of the 20th Century Art Gallery at the Russian National Museum since 1978. Much of her time was spent trying to authenticate museum pieces. This was a big headache for Bethner. "The counterfeiters have been able to recreate almost every corner to perfection, even the paint and canvas of the previous year." Looking for hard evidence that could tell the difference between a real painting and a fake, Bessner consulted scientists and came to an unexpected conclusion: "What was the biggest change in the world before and after world War II? A nuclear explosion." On July 16, 1945, the United States exploded the world's first atomic bomb in the Alamogordo Desert, New Mexico, heralding the world's nuclear age. Since then, the United Kingdom, France and the Soviet Union have also conducted more than 550 nuclear weapon explosion tests, until 1963, the United States, the Soviet Union and the United Kingdom signed the Limited Nuclear Test-Ban Treaty, nuclear tests gradually decreased. Flax in nature absorbs isotopes released by nuclear explosions, and oil extracted from flaxseed is used in paintings. Those two isotopes became indelible birthmarks on post-World War II paintings. In western art history, The Second World War marks the dividing point between modern and postmodern art (also known as contemporary art). Therefore, the birth of this new technology not only helps identify Russian avant-garde art, but also has great significance for the entire Western art world. Nearly 30 collectors have come from around the world, Dr. Besner said. Vladimir Afonin, a Russian collector, brought a 1919 painting for a final appraisal before buying it. It turned out that there were no traces of cesium 137 or strontium 90 on the painting, indicating that the work was genuine. Forgeries used to seem like a lingering shadow of the art market, but when it comes to solutions, the market has mixed feelings. So far, Dr Besner is not confident about the new technology's market prospects. "A lot of people are resistant to this technology. Many collectors and dealers are afraid to even come to us for fear that their fakes will be revealed. In fact, too many people have their interests tied up in fakes."

Four keys to investing in oil painting Four points must be paid attention to when entering oil painting collection: First of all, we should look at the painting reflected by the painter's skill, on the one hand, through the creation of the work, the way of expression, etc., on the other hand, we should look at the details of the painting, whether it is characters or scenery, the details of the work reflects the author's painting skills and strength; The second is the use of oil painting color, to see whether it is coordinated, contrast is reasonable; The third is to see the painter advanced degree, for oil painting writers, generally have to go through long-term strict professional training; Fourth, it depends on the age of the author. Generally, young and middle-aged oil painters are at the peak of their creation, and the market investment is generally not very large.

"Idiot" oil painting instructions If you are a person who knows nothing about oil painting, then these suggestions will help you to finish a decent oil painting exhibition and get some pleasure from it. color A realistic oil painting is not always a masterpiece. Painting like is not the highest form of painting. What is worth paying attention to most is the harmonious relationship between color and body. Good works, should be filled by color behind the picture of the unfinished meaning, there is a great foil. brushwork Should have a certain sketching foundation, to draw a good oil painting, the volume of the object, texture, perspective should be clear and in place. The author A painting is usually a reflection of the artist's ideas in a particular situation, and even the most famous oil painter can vary greatly in style and brushwork because of the state of the painting at that time. Fame is not everything. The title Titles in paintings are relatively unimportant, often arbitrary or even archived, and quite a few simply use dates as titles. The material Main board oil painting and oil painting on cloth. Oil on board was usually before the Renaissance, when there was no good linen. Contemporary oil paintings are mainly made of linen.

Oil painting to dust Painting in the warehouse or hanging, will be stained with a layer of dust. If a painting is covered with dust, the ideal way to clean it is to buy a large and small pencil from an art supply store and brush off the dust with a brush. But remember, must see clearly before painting surface has cracked, loose part. If so, don't touch those parts. Oil painting must not be wiped with a rag, more cannot use a wet rag, with a rag with soapy water more dangerous. The moisture will enter the delicate muscle lines of the painting and is not easy to come out. Older paintings also have a coat of varnish, which when combined with the moisture will produce a pale lime effect, like bleaching the work. Moisture can also cause the canvas to shrink irregularly, making it harder for paint to adhere evenly. If the problem is serious, seek professional advice.

The performance of texture effect of oil painting How to use the texture to show the texture of the image It is a common technique of classical realistic painting to draw with texture in order to obtain visual satisfaction. Modernist painters pay more attention to texture, and even paste cloth pieces, roots, leaves and other objects directly on the picture. Here are some oil painting techniques to show the texture of objects by means of texture: Plush feeling: with a small brush regularly place into a piece or in the spread of good color with a small pen, hard stick, etc. The traditional method has the use of wood chips, sand and other things, the specific method: the glue is coated in the required parts, the glue surface sprinkled with clean wood chips after screening, to be glue and wood chips bonding, remove excess wood chips (erect the picture frame, pat on the back), dry after to prevent wood chips oil absorption, to spray a layer of glue on the surface. Dong Xiwen used millet as texture when he painted the carpet in The Founding Ceremony. Grass texture: can be traced with a small pen. A large area of grassland often uses dry drag method, that is, a large amount of dipping thick color drag brush, color dry and then drag, repeated until the thick grass effect, can use a drawing knife, fan pen and other auxiliary tools. The traditional expression method is to use white pigment to accelerate the dry oil to rub the grass texture on the bottom layer, and then cover the color after drying. In order to enrich the color layer, a small pen can be drawn. To use acrylic material for texture, glue is sprayed on the surface before coloring. Wyeth, an American painter, painted the underlayer of dead grass or fur with a rough brush that was slightly dried and dipped in water. With latex harmonic big white powder or the powder cream that lide powder makes it can do a variety of flesh texture, but cannot too thick, have the possibility that falls off otherwise, when the grain such as expression wood grain can borrow cutter. Color can be applied in reverse first. If the effect is a cool color, then first with warm gray light paint (brown and a small amount of black). Rub with clean cloth next, color can seep into the gap of flesh texture, this one layer of pigment can use propylene, because it dries fast and firm, and play a role in the performance for many times behind, turpentine is not easy to wash off. Then the repeated production of scraping and cover can achieve the desired effect. The material that makes canvas texture and method have what Oil painting often uses texture to fully express the external characteristics of objects. Texture can make the picture produce a special artistic effect that can be touched, which is difficult to achieve in flat painting. It includes the texture of the canvas, rough base, changes in brush strokes, the application of knife techniques and the use of additives. There are many examples of using texture in ancient oil paintings, and The texture production of Rembrandt is a part of his technique. Most of the classical masters use their own blend of white texture, and then use transparent painting layer by layer. Modern painters usually use large white powder and latex to make texture on the base or directly use white oil paint to make texture. For example, the painter Ai Xuan uses white pigment to mix quick-drying oil (quick-drying oil produced in Japan, which is mixed with white pigment and dried within 24 hours), and uses a large brush to apply rubbing and other performance methods to lay fluffy texture where the picture needs. Painter He Duoling uses the word "Modeling" to create a texture based on the texture of the object. Common materials used to make texture are: (1) lime powder. Can be developed into fine powdery and sand granular, can be mixed with oil paint, but can not add too much, otherwise will weaken adhesion. (2) Marble powder. Similar to lime powder, but this lime powder is hard and heavy and does not grind easily. (3) Sand. Wash with water before use, easy to mix with oil paints. (4) Red iron powder. It needs to be well blended with oil paints to get even texture. Not suitable for thick usage. (5) Others. Glass, sawdust, weeds and other uniform use. No matter what additive is used, it will affect the color adhesion. If a lot of additives are used, glazing oil can be used to increase the adhesion of this media, and make the surface of luster. Here are some simple ways to create textures: (1) the use of large white powder or reed powder white latex paste, the use of brush or painting knife in the required place to make mottled pen mark texture, or the white powder paste coated in the bottom, with knives, combs, rollers and so on to make the required texture. (2) Dissolve damar or Mati resin in turpentine and then mix white pigment. When reaching a certain viscosity, use a brush or a large drawing knife to make ideal texture on the scraped canvas. After the turpentine evaporates, the lead hardens quickly (about two minutes), so time it properly. If it's too late, the paint hardens and the texture becomes difficult. (3) it is very convenient to use acrylic pigment or acrylic plastic paste to make texture, because the acrylic material dries quickly, it can also be stacked. But if used on the oil bottom or the oil film after coloring, acrylic paint is easy to peel off, so before use should be sanded. (4) The process of painting can be thin, thick, thin, thick and other color changes, using brush strokes and knife directly to make uneven rough effect, or in the pigment mixed with sand, sawdust, glass, bread crumbs and other granular materials to make texture.

How did on-shelf painting come into being and what are its advantages? In Europe, easel painting arose in response to religious activities and commercial needs. Medieval parchments and wooden niches were early easel paintings. The widespread use of oil paints in easel paintings in the 15th century gave rise to easel paintings. Nederland miniatures on parchments and single wood panels were already in vogue. In the 16th century, the Venetian school of painting was widely used after stretching canvas on wooden frame. Canvas was the early canvas, and linen came later. In countries like Italy, saints carry religious linens on tight wooden frames for religious activities. Oil painting on canvas has surpassed watercolor painting, egg glue painting, fresco painting and toner painting in terms of expression ability, elasticity of color layer and permanent preservation. In terms of technology, the advantages of oil painting are as follows: The plaster-like oil paints with plasticity have brought flexible and free painting space to painters. Besides the brush, the painter can paint with a scraper and other tools. The painter can make transparent and opaque effects coexist in the full scope of the same picture. Oily pigment drying is slow, the painter can repeatedly alter the picture, and can directly color on the picture, color. Oil painting color bright, conducive to the characterization of the texture of the image, can fully express the complex tonal level of the image, with transparent, vigorous and rich superior effect. Different toners can be used to control the drying time of color, and rich picture texture can be produced by the contrast of the thickness of the color layer and the change of the brush stroke, or painting on the surface of the texture, or adding granular materials in the pigment to express special objects.

Who is the inventor of oil painting? While ancient European painters were familiar with and enthusiastic about tampera painting techniques, they gradually discovered its defects and shortcomings, such as: difficult to blend and blend colors, not soft and bright enough colors, too much effort in the small brush line arrangement, and easy to mold and low impact resistance in wet weather conditions. For this reason, painters invented a way to protect their pictures by glazing them with transparent paint. Then someone in tampera bottom screen to do multi-layer transparent color cover dyeing, after called glazing or glaze dyeing, which forms a mixed technique, a non-Tampera painting is not oil painting techniques. Leonardo Da Vinci's Last Supper is an oily tampera painting. Leonardo Da Vinci made many studies and applications of oil pigments, but the technology was not mature enough, so many of his works did not survive. So, who was the inventor of oil painting? Using oil as a painting medium was experimented with in Byzantine times. According to records, such paintings would not dry after months of exposure to the hot sun. In 1200, monk Theofer Ruzius wrote a treatise on oil painting called diversified Art Forms, in which he introduced the use of flaxseed oil and Arabic resin. Paintings resembling oil paintings appeared in the British Isles at the end of the 13th century. In the late fourteenth century, two Dutch painters, the Van Eyck brothers (Jan van Eyck and his brother Hubert van Eyck), found a simple way to paint by melting oil into paints and created pure oil paintings. Art historians cannot claim that the Van Eyck brothers were the inventors of oil painting, but at least they found an ideal oil based painting medium based on previous experiments. Many experts think their greatest achievement is to add natural resin in the grease, so that the writing smooth, medium quickly dry. The wedding of Arnolfini by Jan van Eyck and his most famous work, The Ghent Altarpiece (23 paintings in the Church of Saint Bavon in Ghent, Belgium). It is regarded as an important work in the development of European oil painting. The van Eyck brothers invented the technique of blending oil, which is said to have been a mixture of a "blu daylight oil" and flaxseed oil, with which they mixed the pigments he had used in his Tampera paintings and found to work well. (Some researchers believe "buru sunoil" is a refined turpentine, which is still used to dilute oil paints.) Antonueuo De Messina (1430-1479), the earliest Painter to study and master oil painting techniques in Italy, is said to have learned the oil painting techniques of the Van Eyck brothers in the Netherlands and returned to Venice to teach the use of oil paints. Since then oil painting as an independent painting in the European continent popular. For hundreds of years, through the inheritance and creation of various generations of painters, oil painting has been further developed and improved.

Oil painting is a special art language that can not be replaced by other art forms. Its special character and pure meaning make it an indelible contribution to the development of human visual art. The unique charm of oil painting is first reflected in its material. It breaks out of the limitations of fresco, tampera, egg glue painting and other materials and production. With the help of color mixing media, it produces rich light and shade levels and subtle color changes through the overlapping and cover dyeing of superior materials, so as to achieve the purpose of reproducing nature. The material beauty of oil painting is mainly manifested in two aspects: color layer and texture. (1) The beauty of color layer The beauty of color layer refers to the comprehensive aesthetic feeling produced by the interaction of transparent and opaque characteristics in oil painting with multiple painting methods, which is the inherent order and criterion of oil painting color layer. Unlike photographic works that rely on light and shade and color point particles to record the changes of natural levels, it relies on rich color levels and transparent repeated cover dyeing to produce a myriad of different level effects and picture beauty. It is the result of a technique. Through rich color changes, the texture, volume and quantity of the object are magically presented. At the same time, the reproduction of objects and techniques are full of beautiful rhythm. Early oil paintings rely on the bottom layer of monochrome to show the body structure and light and shade levels, the surface layer of transparent color to reveal the inherent color tendency of the object. Later, oil painting developed into a combination of orderly shaping and orderly transparent cover dyeing to produce the aesthetic effect of transparency on color layer and harmony on shape and color, so that the material beauty of oil painting played a permanent charm. (2) The beauty of texture Texture beauty refers to the aesthetic feeling generated by the three-dimensional texture prominent in the picture presented by the special material of oil painting, which is manifested by the thickness accumulation of pigments in the process of brush handling. There is what kind of production and shaping, there is what kind of texture. Therefore, texture is unavoidable in oil painting. Texture has different performance in each stage of oil painting development. The classical period is a kind of texture without ups and downs, the thickness difference of the brush stroke is very small, the beauty of texture is reflected in a subtle, implicit change. With the change of oil painting techniques, texture beauty has become the life consciousness in painting. Wild and free brushwork, dignified and powerful color fluctuations form a shocking power, texture beauty has gradually become the most appropriate visual form for people to express their inner feelings.