1. The location of the artwork is the key. Always hang a painting in a stable environment, as excessive changes in temperature and humidity can cause the canvas to expand and contract.
2. If the picture is hung on the wall outside the house, cork should be padded between the corner of the bottom of the frame and the wall to prevent the work from being hurt by cold and moisture.
3. Seal the back of the painting with a board to prevent dust and insects from invading.
4. Dirt in the home can cause damage to the paintings, and keeping them clean is essential to the maintenance of the collection.
5. Stay away from sprays, pesticides and cigarette smoke, which can all damage paintings. Do not touch the painting or frame with cleaners, sponges or vacuum cleaners. To remove dust, use a lightweight sable stylus.
6. The most common time to cause damage to paintings is when they are transported and moved. If your work is too large or too expensive, consider hiring a professional to deliver it. If you decide to do it yourself, check for loose parts or signs of damage before proceeding. Make sure the frame is secure. When moving, the front of the painting must be facing itself. Also be careful with your hands, as smudges and grease on your fingertips can stain the painting and paint.
7. If you store art, keep it away from Windows, heat, pipes and boilers. 8, in addition to the surface dust cleaning work, encountered preservation or repair problems, are left to professionals

Hot painting and cold painting are the oldest wax painting techniques in Europe. They are distinguished by the use of wax media. The wax suitable for painting is mainly beeswax. Beeswax sold in shops is creamy in shape or block and melts into turpentine, premium petrol and water when heated to 60 ° C. Wax paintings are suitable for hard supports such as wood panels and can be attached to a canvas. Canvas base generally uses a gelatinous base, also can not do the base, but can not be painted on the oil base. (1) Thermal drawing Select 8 parts of high-quality beeswax, cut into small pieces, add 1 part of Karnuba wax (imported wax, egg-yellow fragments, smooth and hard, can not be used) mixed into a metal container, heat with fire to make it dissolve. Then take the same amount of (1∶2) Dama resin varnish mixed together, and divided into a number of small metal boxes, and then each color powder in a box of hot wax solution, respectively, can be made into different colors of wax paste. When painting, the color paste box is arranged on the smooth metal plate that can be heated, so that the wax color remains dissolved, and the brush can be dipped in the color solution to paint, and the color can be mixed on the metal plate, and diluted with turpentine if necessary. The wax color will quickly solidify on the screen, can be covered with multiple layers, can also be modified and retouched with a scraper while hot. Modern painters often use auxiliary tools such as hot hair dryers, special electric irons, and heated scrapers. As shown in figure 26. The wax colour picture after finishing shows inferior smooth state, usable flannelette is polished on the picture. (2) Cold drawing method Cold painting is divided into emulsified wax and saponified wax two media toning method. Emulsified wax: also known as wax cream, the standard preparation method is: take 30 grams of high-quality beeswax, put into 250 milliliters of boiling water to dissolve, add 15 ~ 20 grams of ammonium carbonate (can be dissolved with a little warm water first), boil and bubble, keep stirring, until the bubble disappeared, can be made into bean curd shaped wax cream. Painting with wax cream 4 parts +1 parts of latex (or animal glue, casein glue, etc.) and color powder use. Saponified wax: place 1 part of beeswax and 3 parts of turpentine in a wide mouth bottle, seal it, heat with water to dissolve beeswax in turpentine, and then add (1∶2) dama polishing oil to mix pigment powder. Cold painting is more suitable for canvas and paper than heat painting, but if cold painting wax painting wants polishing, it is best to draw on the board of gypsum base

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. It is impossible for us to list all the techniques of classical artists, but we can only explain the common and substantial things in their techniques for everyone to use for reference. Especially in the production process of each artist has a lot of different characteristics, but as the whole system of traditional classical oil painting, it also has its general points in common, so it can only be briefly summarized as follows. 1, shape with a line It has been a common method adopted by painters in the initial stage of painting since ancient times. Since the original painting, line modeling has become an effective method for people to summarize complex shapes, because lines are the expression of body boundaries, which can divide the area of different shapes, and also show the relationship between different volumes. More importantly, it can obtain people's perceptual and rational recognition of body cognition. Therefore, no matter how complex the final effect of oil painting is in levels and color levels, the extraction and generalization of lines in the initial stage is crucial. It is first shown as the setting of a large composition, followed by the positioning and description of each part of the body. Therefore, the composition and the arrangement of the big shape must be basically established in this stage, and rarely changed in the later stage, which is the rigorous performance of the traditional oil painting on the shape, so it requires that the initial shape must be strict and considerate. We can see from the sketch of the classical masters their generalization and expression of the form, but also can see that their sketch is directly for the oil painting shape and service, rather than as an independent aesthetic value. At that time, most of the sketches are based on lines, and there are few tonal levels. In addition to the interspersed display of the body of the edge line, it is to express the volume and light and shadow relationship in the picture succinctly by turning or the boundary line between light and shade. This concise line drawing form is more suitable for complex layers, rich details of oil painting in the initial stage of the concise shape. In ancient times, most painters drew sketches directly on paper, and then painted charcoal or toner on the back of paper to copy the sketches to a good base of the canvas. This method is suitable for the painter who has a very rigorous style in modeling, and not only can safely obtain accurate modeling, but also does not hurt the surface of the canvas like directly sketching on the canvas. There are also directly on the canvas with Dan pull or turpentine and paint sketch relationship method, but the most common or first with toner or charcoal copy shape and then with Dan pull or turpentine pigment paint monochrome thin oil effect. The purpose of kaixing is of course to lay a foundation for the work. In order to achieve an accurate and fine final effect, Kaixing must strictly and clearly explain the basic content of the body in the sketch. This procedure often determines the success of the subsequent in-depth portrayal. However, in traditional oil painting, some painters only draw big relationships and big momentum when they shape, use loose lines, and some approximate sloppy, while leaving accurate and specific things in the later stage to gradually carry out, which often can obtain some unexpected vivid effects. However, these two methods and post production also have a great relationship, if it is in the color stage to local one by one, it is best to describe the shape with line fully and accurately, but if it is the overall color method, it is best to use flexible and not too careful line shape. 2, the first time to spread color The main purpose of the first time to spread color is to succinctly draw a large color area, large body relations, and lay a good foundation for the subsequent texture, color layer. The big form relationship mentioned here refers to the general and overall treatment of each form 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 and fluctuation can be summarized as a large area of planarization effect. Large color area refers to the color of all kinds of small changes simplified as the basic inherent color tendency, and color changes and inherent color details are summarized as far as possible to the large inherent color. From the texture of this first spread color should be as implicit as possible, uniform thickness, natural cohesion, and should not be the final effect of the texture of strong and weak contrast early display, if already painted, can be used to soften the fan pen or remove with a drawing knife, for the real later shaping preparation. Tell from color layer this color should compare final effect pink as far as possible a few, gray a few, that is to say do not paint the final effect of color purity and contrast at a stroke, so can give later cover catch 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, And after synthesizing with the background layer, it can get the proper measure of purity and hue accuracy. Step by step Shaping refers to the establishment of large volumes from large to small with brush strokes on the rough plane effect of the first time of painting, so as to make the shape and color gradually clear and realistic. As the first color is likely to almost cover the lines of the shape, we need to use heavy colors with certain color differences to redraw, determine the outline and structure of the body, at the same time, from the dark part of the painting to the light part of the gradual shaping. To be specific, the shaping stage has several aspects of significance. First of all, it is of course asymptotic from plane sense to volume sense to complete the task of sketch. Secondly, the gap can be gradually established in terms of texture. That is, the strength of the texture and the strength of the volume of ups and downs unified, showing the obvious part of the muscle volume is also the high point or strong point part of the body; Third, in color, you can take into account the change of color by shaping the shape of the brush stroke. 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, shaping must be carried out layer by layer from thin to thick, and at the same time, the principle of "fat cover thin" must still be observed on the oil, so that the color layer containing more toning oil is left in the transparent cover later. Shape must aim at the target, and should not be full of thick paint. The contrast that must accomplish to strong or weak of body, flesh is strong or weak, dark ministry bright ministry has quite hold and consideration ability to undertake. For example, the relative scope of thick color should be controlled, and the scope of shaping must not be arbitrarily expanded, resulting in chaos of texture and body sense. Generally speaking, it is to seize the high point or the bright part as far as possible to shape the brush, while the dark part and the middle level should be soft and pay attention to cohesion, and the thickness of the color layer should also be relatively thin. Of course, the brush strokes are also relative. In some painters, the gap between the strength and weakness of the brush strokes is very large, while others prefer to control the gap between subtle spans. But in general, there is no lack of shaping this stage, otherwise it can not produce the kind of real sense of the unique performance form of oil painting. In shaping the color of this stage relative to the first time shop color, the purity should be higher, but also can not suddenly achieve the final effect, the same for cover dye leeway, relative to the first time color, on the hue can be from large to small to seek changes and characteristics. Including the bright part and dark part of the cold and warm changes and inherent color hue change. With the change of the brush strokes in shaping, the sense of difference in color is gradually shown at this time. 4. Cover dyeing and re-shaping In traditional classical oil painting techniques, cover dyeing and shaping are alternating and complementary to each other, which makes oil painting have a strong expressive force. If there is no foundation of thick pink color, pure cover dyeing is impossible to convey the level of purity of color, because only transparent color cannot show various degrees of gray variation, let alone the sense of difference in texture. On the contrary, it is impossible to obtain the flexibility of both transparency and purity of gray in color, but also cannot form the rich sense of color layer, and cannot obtain the overall sense of enveloping atmosphere. In t

The main features of oil painting Oil painting, since the 15th century Netherlands van Eyck brothers improved and perfected the oil dissolve and mix paint painting technology, so that it has become the main western painting, has been popular for hundreds of years in the world. In the early 20th century, a group of Chinese students studying abroad grasped its essence and introduced it to China, making it coexist with the original traditional ink painting. Due to the unique use of materials and tools in oil painting, its ability to express visual beauty is also unique. Can say, the characteristic such as massiness, burnish, calm, texture, multicolored, reflected the main characteristic of unique artistic charm of oil painting exactly. 1. thick Massiness is the expression of rich texture and strong color of oil paint, and it is inevitable that oil painting can withstand layer upon layer addition and repeated accumulation because of coarse linen or thick hard paper as the carrier. It is also the key to the strong expression of oil painting. 2. luster Luster has two kinds of performance: one is to use itself is oily paint or oil painting, picture reflected gloss, or after completion of the works and then coated with a layer of light oil, make the picture appear bright and beautiful and have a glorious, 2 it is to use oil paints can be thin and thick color contrasts, make relevant objects such as metal products, glassware, such as gloss, truthfully. Oil painting shows luster in a way that no other painting can. 3. texture Texture here refers to the different strokes and textures presented on the surface of the picture. Because of the strong plasticity of oil paint, when painting a knife stacked up, the surface of the picture will form a full of knife marks and brush strokes; Because oil painting canvas has its fine different grain again, when using thin besmear method, dry brush method and the method such as cutting with knife, the grain of cloth also showed naturally come out. The texture effect of oil painting is essentially the visual psychological experience formed by the transformation of human tactile perception into the picture.

What is transparent painting and "optical ash" Transparent painting is the oldest known easel painting technique, dating back to the 15th century. It is a traditional European painting technique before the 19th century. Transparent painting method basically is to undertake colour cover catch, make two kinds of color harmonize through vision produce the 3rd kind of color, although it and physics harmonize the 3rd kind of color that derive have same hue, but visual effect is different, former more dark, have burnish like jewel. In transparent painting, the sketching of a painting is done without the use of color. The so-called non-use of color refers to the monochrome high-profile form to determine the volume of the composition and the image. The color is then added as a transparent rarefied or polished color. Transparent drawing includes: (1) transparent color redisplay. Generally in the background and the body of the dark part of the non-toned or less toned powder oil for multi-layer cover color, reveal the cloth and background color. (2) Thin bottom transparent cover color. On the gray brown bottom of the middle tone, dark brown or silver gray is used to draw a more strict plain color oil painting, transparent color is covered after being dry, transparent color is avoided to adjust white too much, so as not to affect diaphaneity. For this reason, the bottom of the plain oil painting needs to improve brightness in advance, leaving room for multi-layer cover color. (3) Thick transparent cover color. Refers to the bottom painting thick coated smooth surface and bottom painting thick coated concave and convex surface cover transparent color. Thick coated smooth surface refers to the first thick color to be not dry when swept, dry cover transparent color. This method is mostly used in classical oil paintings. For example skin suffers light part multi-purpose thick besmear pigment, make its and the thickness of dark color part such as setting pull open distance. Thick paint is not dry when the brush gently sweep evenly brush smooth processing, dry and then cover transparent color, can achieve both thick and transparent crystal effect. "Optical grey" is a visual effect of transparent painting. Ancient artists in tampela or oily color bottom with resin varnish glaze dyed, coated with transparent or translucent cover layer, so that all kinds of layers through overlapping revealed, namely the transparent gray with strange colors - "optical gray". This transparent gray and the deployment of gray compared to the visual effect is not the same. It can't be drawn directly. Rubens was already famous for creating optical grey, telling his students: "At least the last layer of shade should be transparent." Figure 29 is part of Rubens' oil painting. What is the method of classical transparent drawing (1) The first sketch. Transparent painting mainly relies on clear, successful monochrome background painting - sketch. At this stage, any sketching medium - charcoal, chalk, etc. - can be used to clearly define a frame to fill in the background color - sketch. After that, spray a layer of hair spray or polish. (2) pure grey painting method. Grey is usually mixed with white and black, or ochre or brown and white. The basic requirement is a strong contrast of light and shade levels, as bright as possible, because each subsequent coloring will make the picture a little darker. According to the principle of "fat cover thin", at this stage, oil should be used as little as possible. Ancient painters used lead white, because lead white was the most "thin" in oil paints, while black oil painting was oily, so it should be used less. When depicting portraits with contrasting levels of light and dark, it does not mean that the darker is the better. On the basis of maintaining brightness, the deepest tone should be in the middle gray. When painting a gray picture, should always have a fan pen or oil painting roller, constantly use it to wipe the paint flat, generally only in really need to draw slightly thicker strokes. After gray painting is completed, at least let it dry for more than two days and then coated with a layer of polishing oil, which is conducive to the subsequent layer of color glazing. (3) coloring. The beginning of the color layer to generalize, a large area of pure diluted glazing is the first step in the coloring process. Wait until one layer is dry before covering the next layer, about one to two days apart. Can use wet cover of course wet drawing law, but control colour not easily, the artist that uses transparent drawing law so draws a few pictures at the same time. (4) thin coating. After transparent coloring, to increase the body feeling of object image, simple sense, high gloss and detail part often use thin besmear means to emphasize, with a lot of white to mediate a lot of toning oil besmear at dry on the glazing color, add toning oil is to abide by "fat cover thin" principle. Note: Do not use turpentine at this stage. Turpentine is only used in the grey painting stage. In transparent painting, glazing and thin coating may alternate. Sometimes two or three times can be, may also be more than 30 or 40 times. The work is dried for a few months and then coated with varnish. Some people say: there are as many transparent painting artists as there are techniques, so transparent painting is not limited to the above methods. Painters can explore their own techniques and styles according to their own needs. Here is another classic transparent drawing method: First with charcoal draft, and then with a long front hook pen dipped in latex blend of black pigment or ink accurately to hook the outline, and then with a large brush brush dipped in "three in one" oil (Dama light oil: linseed oil: turpentine = 1∶1∶3) out of the ochre tone of the thin color, with loose brush painting full picture, and then with a rag to wipe the redundant oil. The second step: with a large dip emulsion (methyl cellulose emulsion or casein emulsion, see "tampera emulsion production"), adjust titanium dioxide to draw the object by the light part, while the white is not dry when the pen lightly sweep, to the dark part of the transition, making the white effect shows the middle tone, the contrast of the picture should be summarized, strong. The third step: white dry then with "three in one" oil toner glaze dyed, the so-called "glazing". If there is no toner can be oil paint with kori paper to absorb the oil and then use. The white of the second step and the glaze of the third step are repeated until the shape and color are perfectly combined. Because this technique uses latex whitening, it dries quickly and can be conjunctival in a short time after glaze dyeing, so it can be continuous operation. Care should be taken not to use too much oil in the initial glaze dyeing. Additional, canvas base should have oily absorption, initial drawing is dry, show burnish gradually. Classical transparent painting requires a process of becoming familiar with the materials, and the artist has to accumulate experience in practice.

Tampera oil painting techniques Tampera painting media - emulsion is divided into natural latex and synthetic emulsion two categories. European traditional tampera painting uses egg tampera emulsion, modern painters also use casein emulsion and methyl cellulose emulsion. Its preparation method is as follows: (1) Egg tampera emulsion (1) Waterborne egg yolk tampera emulsion: an egg yolk to add equal or half of the water, and then drop a few drops of white vinegar, emulsification and corrosion. ② Oily egg yolk tampera emulsion; (1:2) Dama glazing oil and flaxseed oil are mixed at a ratio of 2:1. Take two teaspoons of the mixture and add one egg yolk, then drop in a few drops of white vinegar. ③ Whole egg tampera emulsion: that is, egg white and egg yolk can be used together instead of egg yolk. According to the painter's needs, water-based or oily whole egg tampera emulsion can be prepared according to the above two methods. Another preparation method for whole egg tampera emulsion: one whole egg, half (1∶2) dama polishing oil, half (1∶2) linseed oil, and one part water. (2) casein emulsion Heat 50 grams of casein to a boil in an electric pot containing 125 ml of water, then add 15 ~ 20 grams of ammonium carbonate (melted with warm water), stir continuously until casein is fully dissolved, then add 125 ml of water to make glue, add 1% of lead white for anticorrosion. As a water-based emulsion, the glue can be directly used for color mixing and painting, and can also be added with appropriate dama polishing oil and linseed oil. (3) methyl cellulose emulsion Take 31 grams of methyl cellulose, add 2.2 liters of water, stir and dissolve before use. When used directly for painting, it is best to mix half or equal amount of latex. An oily methyl cellulose emulsion can be prepared by adding one part methyl cellulose to half part Dama polishing oil, half part flaxseed oil and one part water. Tampera's method of painting: (1) more hard supporting materials such as wood boards are used, and a layer of gauze or other cloth is affixed to the bottom plate. (2) chalk bottom or gypsum bottom. No oil base is used. (3) Paint with tampera emulsion and toner. (4) draw a rigorous and neat sketch on a sketch paper as large as the painting, and then copy it to the bottom of the painting, spraying thin alum water can be colored. In the painting process, it is best to use tampera emulsion on demand, because this emulsion will deteriorate over time or oil and water separation phenomenon. Dip and dilute the color according to the coloring needs. The first step is to paint the general color with a flat pen in watercolor painting mode, and then use a small brush with a thick small brush to gradually apply color and shape. Due to the semi - transparency of tampera pigment, it is not easy to evenly apply color in a large area, so the use of cover color and small line arrangement techniques for detailed description. Apply color principle is by shallow reach deep, thin after thick first. Tampela's painting features: fine description of objects, and can maximize the maintenance of bright color, and dry fast (after a few seconds dry), can be repeated multi-layer drawing.

Liu Xie's "Wen Xin Diao Long · Timing" has said: "the time of the movement, the quality of the generation change", "old knowledge of the text change dyed with the world, xing waste is on the timing". Art cannot be separated from society. Art is epochal but transcends The Times, while the life of artists cannot surpass The Times and society. Every artist cannot transcend his time. More can't get rid of the constraints of The Times. Individual artistic practice is bound to be influenced by its times. This puts forward our artists in this changing society, what kind of mentality and way, in order to create works with the characteristics of The Times, stamped with the brand of The Times, showing different characteristics of The Times, show different spirit of The Times. Art is not a craft, art is a culture, is an idea. Technology exists for a raison d 'etre to help artists finish their work. When artists create art, they want to tell the audience a kind of consciousness, a kind of survival experience, a kind of cultural thinking and a kind of life state. What we try to understand about a work is the "meaning" it wants to convey to us. This paper mainly focuses on "cultural and artistic consumption" and "artistic individuality and epochal nature". Key words: consumption era, culture, consumption, age, popularity Quote: The artist is a social person, but also a cultural person, from his body can reflect the spirit and values of the contemporary people, the beauty and ugliness of his works not only reflects his own views, but also reflects the aesthetic orientation of the whole era. An artist should, on the basis of his own personality, take his experience of The Times as the condition, take artistic visual language as the medium, take emotion and inspiration as the catalyst, and take the eternal existence value of art as the target, walk on the avenue of artistic development and complete his contribution to art. First, the public's demand for cultural consumption The state of human physical existence, social existence and spiritual existence is always in an alternate cycle between scarcity and enrichment. When these three states of human beings are in sensory deprivation, they constitute human needs, which are essential elements and motivation to satisfy human physiological, social and spiritual existence. The hierarchy of human needs is established on the basis of rising satisfaction, which is a gradual process from low level to high level. The law of progressive or rising of the development of consumer demand is a natural historical process of the development of economic and social productive forces. When people's basic needs are satisfied, they must pursue high-level spiritual needs such as physical and mental health, spiritual enrichment and self-perfection. Rapidly increase as a result, the productivity level, highly developed economy, products rich in modern economic society, people's consumption is already beyond the basic survival needs of the stages of hierarchy, and greater access to meet the spiritual consumption, enjoyment and development of high-level functions, cultural consumption is such a kind of consumption patterns. According to their own subjective will, people choose cultural products and services to meet their spiritual needs, so that subjects feel happy and satisfied; The objects that meet the needs of the subject are mainly spiritual and cultural products or spiritual and cultural activities, such as beautiful scenery and moving artwork. The rapid development of modern science and technology makes the whole human society gradually enter the consumption era. The growth of cultural consumption demand is always subject to the development of social productivity level, so the level of cultural consumption can more directly and more prominently reflect the degree of modern material civilization and spiritual civilization. The more capital expands, the higher the consumption of culture. The real symbol of great wealth is the consumption of arts and culture, not of cars and houses. Compared with material consumption, the space of cultural consumption is definitely the attribution of more capital. When the rich invest 30 per cent of their wealth in art, the first to become rich may creep closer to civilization, otherwise they will never be noble. As the visual art of cultural consumption, the humanistic care shown in realizing social value through consumption is more about affinity and entertainment with the audience. The moment an artist puts down his brush and completes his creation, his work no longer belongs to him. Artistic creation has come to an end, whether it can cause effect depends on the induction and resonance produced by his audience. Only when the work and the audience can finally form a common sublimation on the aesthetic level, can the social attribute of this work of art be recognized, that is to say, this work of art has the popularity. A piece of work, the larger the ideological capacity, the more innovative the art form, the more skilled the artistic expression, the richer or simpler the visual effect, no matter what cultural level of people are likely to reside next to your work, that can show that your work has established a successful communication with the public. People's value concept, artistic accomplishment, aesthetic interest pursuit, etc., it is the different reactions naturally produced by people of different ages and different education when they understand various concepts, consciousness, ideological trend, artistic language forms and artistic skills related to art in the East and the West. The contemporaneous nature of artistic creation is precisely reflected in the understanding and pursuit of contemporary people's spirit and mass spirit. Of course, it is not always good works that the public likes. Here, it is mentioned that the aesthetic taste and art appreciation of the public need to be constantly guided and improved, which is a long-term process. There needs to be a process in which the public's education level is generally improved, their life is generally rich, their independent consciousness of cultural needs and diverse choices is generally improved, and their cultural consumption concept and purchasing ability are improved. Any social form, any social system of art needs guidance, without good guidance, there will be no good acceptance. The development of art and the public aesthetic is a synchronous development, interactive relationship. In this era, artists should take the initiative to build a bridge of communication between their works and the public, and form a corresponding relationship between creation and aesthetic interaction, so as to better guide the public and serve the public. Second, art should be contemporary All artists are producers of consumer goods. This requires artists to stand on the height of cultural development and artistic innovation and face creation with a healthy attitude. In 21st century China, great changes have taken place in the values of society, cultural communication and collision between east and west, the conflicts of values, cultural conflicts, etc., make people's opinions about the function and value of art to have great changes have taken place, should have the educational functions of art in addition to its itself, and its aesthetic consumption and entertainment function, people in understanding art at the same time, It has also changed art, as well as artists' world outlook and creative outlook. Visual art in the age of consumption has its own characteristics and discourse. Based on life and emotion, it has its own personality, style, form and beauty. It can dissolve major, serious and even profound social, life and cultural problems into humorous jokes and witty entertainment from the perspective of comic and comic games. The problems of society, life and culture are heavy, but the art of the consumption age can make it as easy and pleasant as crosstalk and sketch. Consumer society at the same time support the aesthetics and aesthetic, the commercialization of the products which on the one hand, created an unprecedented era of art and aesthetic of democracy, on the other hand also make one of the most important aesthetic object, art, and economic hegemony by bullying and lost the elite and self-discipline, the pursuit of symbolic value, the use of marketing technology, focus on economic return, Pop art has become the mainstream of the art form of The Times, forming a "new aesthetic principle" that pays attention to both artistry and consumption. Living in such an era of sudden openness and change, the true meaning of art is hard to prove in different experiences. In the case of relatively backward economic and cultural development, it is obvious that the reliance on and reference to the strong foreign culture is very urgent and explicit. All "innovation" is the "confidence" established in being close to and similar to others. Each era has its own characteristics and weathervanes. The core of our era is to emancipate our minds and keep pace with The Times, and innovation is the essential feature of our era. Seeking innovation and change is a natural need of social and cultural progress, but it has become less natural at the moment, instead evolving into a kind of impatient, awkward and insincere joke. Similar schemata, hysteria and whining have become a new routine, which only regards art as fun and consumption, destroying the real creativity and spirituality of art. Each visual style should profoundly express philosophical concepts, emotional experience and spiritual appeal. The schema in the painting should be able to convey thoughts, feelings and concepts succinctly, and let you forget the form itself, and then reveal the idea and spiritual direction behind. Painting can not only hear and see with the ear, but a

North Day light -- Oil painting techniques of human body In the preface I outlined the importance of light quality in painting. It is important from both a technical and an aesthetic point of view. So I designed the studio to be able to control light in many ways. My main source of light was the six-foot-high, 13-foot-wide window facing north. The window was in a wall eighteen feet high, its bottom eleven feet from the studio floor, its top one foot from the ceiling. From such a height, the light falls on the easel and is reflected off the canvas in all directions, which minimizes the glare directed at my eyes. I fitted curtains on the Windows that could be pulled from the bottom up to control the amount of light and the Angle of light hitting the canvas. When I draw the curtain higher, the light falls at a smaller Angle on the unshaded part. Diffused light comes from two translucent skylights that total 32 square feet (about as transparent as a white sheet of paper). They are mounted on the roof slope opposite the north window. The Windows are fitted with blinds that control the direction and intensity of light, or block it completely. I rarely use the north window and skylight at the same time. Shadows that conflict with each other when used together. Northern daylight When I speak in this book of "northern daylight" or "natural light," I refer specifically to the light from the bright, cloudy days of the north, and also to the characteristic light of the region in which my studio is situated (close to latitude 41° and longitude 73°). I have painted in many different places, such as the North Pacific coast of the United States, the West Indies, the Mediterranean coast, the Atlantic coast, northern New Mexico (8,000 feet above sea level), Manhattan (unseasonal smoggy August weather) and many other places. I found that different latitude, altitude, temperature, and terrain characteristics created very different light conditions than in my studio. Of all the light sources, I like the day light from the north most. This incomparable light is cold, but not predominately blue. It was as bright at noon as the daylight diffused through the skylight in a clear day. What's more, there are solid technical reasons to take advantage of the cold northern daylight, besides being cheaper than installing electric lights. When blending colors, cold light can create the desired warm and cold relationship, that is, under this condition, various colors can appear warm and cold in the color relationship around them. (Please refer to the chromatism section.) Under cold light such as daytime light in the north, objects appear cooler when they are brighter and warmer when they are darker. In blending colors, the most common way to brighten them is to add white, because white is the coldest of all pigments, and actually cools the color at the same time as it brightens. In a sense, light and paint work together to help blend colors. There are three disadvantages to working by daylight in the north. First, you cannot work at night. Secondly, the light is constantly changing, sometimes not obviously, but sometimes the sky changes from bright and cloudy to deep and clear blue in a few minutes, thus affecting certain color relationships in the studio. The third disadvantage is that the daylight hours between the sun and the winter solstice become very short, and from November to the end of January there is no light after three o 'clock in the afternoon. But the shortcomings mentioned above will not have a significant impact on my work. Natural light is really wonderful, and I can make some adjustments to remedy these shortcomings, even if it is worth the minor inconvenience.

I used three types of palette knives, sizes 1 to 3, all of the same shape, long triangular, with a rounded blunt tip. 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 examples of this can be found in the best works of the late Nicolas Fitchen. His technique is sometimes so dazzling that it overtakes the subject, reminding one of Chase's warning: "To learn painting so well that you can hide your technique." The picture shows the five knives I use, from left to right are palette knives no. 3, 2 and 1, followed by a regular single-sided blade with a handle that I use to scrape the palette. The one on the far right I can't name, it's probably a medical knife, flat on the bottom, slightly curved on both 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 using pigments 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. No matter it is the same brand or different brand, the quality between them is different. Most American brands say they meet the so-called CS98-62 standard, which means they meet all the specifications in terms of formula, stability and durability. However, since this standard is not legal, you can do as you please. We have to go by what the label says, which is, to put it craggly, we took our chances. Most manufacturers offer two grades of oil paints, one for "students" and one for "professionals". The student's contains a variety of chemicals that do not change, such as barium sulfate, aluminum hydroxide and aluminum stearate. Student paints usually contain more oil per tube than professional ones. Student paint costs less. The quality is also inferior. The raw materials in professional paints are ground very fine, and small amounts of other things may be added to improve their performance. To ensure the quality of his work, a painter must master the knowledge of repeated experiments and comparisons with each brand of paint. Two or three times a year I buy large quantities of material and sample all the colours in the studio for light resistance testing. First, I draw two bars in the same color on the board and let them dry. One was then covered with cardboard and the other exposed to sunlight for three months, and the two were compared. Naturally, some pigments fade a little. Although a painting cannot normally be exposed directly to the sun for three months, through such experiments, I have often found that some so-called "permanent" pigments have undergone unexpected changes of varying degrees. All things considered, I think the paints that painters use today are as good, or better, than they used to be. Upon my examination, I also believe that, with a few exceptions, american-made paints are generally better than Those made in Europe. This is hardly surprising, since Europe has experienced many upheavals in this century. But I think it's just a temporary phenomenon. thinner I don't use thinner than pure resin turpentine. But there are dozens on the market. I have tried most well-known thinners and some less well-known ones. Thinners are used for two purposes. First, they can be added to oil paints to give them a flowing consistency, which is easier to use than if they were extruded directly from a hose. Second, a small amount of pigment is added to a thinner that can be used as a transparent coating. However, only when the color added is already transparent (such as ultramarine or fuchsia) will a truly transparent coating be formed. If the pigment itself is opaque, such as rose earth red or cadmium yellow, it can only form pigment particles suspension or diffusion of glue. This mixture lacks good optics when applied thin. I know many painters who use thinners as a panacea for all kinds of painting problems. On the surface, these thinners improved the quality of the painting, making it more like the painting of a master. It is a common argument that all great masters possess a secret recipe that enables them to create masterpieces. In fact, it is impossible to have a secret recipe other than solid skills. All thinners have one thing in common: they damage pigments. It's simple. The quality of pigment depends on how well the raw material is ground and whether the ratio of oil to pigment is appropriate. All paint factories have chemists constantly checking the quality of their products. Each color specifies the correct ratio of oil to paint, which produces the most beautiful color and the most suitable consistency. The oil content required varies widely from color to color. When a thinner is added, the ideal oil content of the pigment is changed, the color composition is reduced and the quality is changed. In fairness, I would say that the basic idea in favour of thinner is a good one. There should be something added to the pigment to improve its gloss and performance. Unfortunately, no formula can do this without side effects. If thinner has to be used, the formula described by Ralph Meiner in The Drawing Materials and Techniques Manual, Third edition (Wiggin, New York, 1970), p. 216, is probably the best and least harmful to painting. The main reason I don't focus on thinners or other dopants is that I can use a variety of brush strokes (such as dry strokes and thin brushes) to get the same results. When I need to tone the paint (usually at the beginning of a painting), I use refined pure resin turpentine. Turpentine is a volatile oil; it almost completely evaporates. 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, like demonstrations 5, 6, 7, so I don't have to worry about the bad effects of using turpentine (the worst effects are too thin and dull).

In painting tools, oil painting knife is also commonly used tools. The blades are mostly steel, but also plastic, generally without a sharp blade. Oil painting knives have many different shapes, as shown in Picture 11. The shape of the blade may be round, square, pointed, or even serrated. However, no matter how the knife type changes, its function can be divided into three types: color knife, painting knife and scraper. But in the process of use, each oil painting knife has multiple functions. (1) Palette knife. Used to adjust and oil paints on a palette or flat panel. Generally long body, round head, straight handle, moderate hardness and elasticity. The knife surface is smooth and smooth for wiping. The design of the round tip blade is an important feature. When mixing the paint, the paint can be quickly removed and the color can be scraped without damaging the base plate. (2) Drawing knife. Painting knife blade thin, delicate, elastic. A curved metal rod is connected between the blade face and handle. This special design prevents the fingers from touching the color of the picture while making the knife more flexible and free in control. The blade has a variety of shapes, including round, square, triangle, obtuse, etc., as well as different lengths and sizes. Painting with a paintbrush can achieve an effect that is difficult to achieve. The brush is often used perpendicular to or at an Angle to the canvas, whereas with a drawing knife the blade is almost parallel to the canvas. A drawing knife is a common tool of modern painters. (3) scraper. It is mainly used to clean up old pigments from the color palette. The blade is hard and shaped like a worker's shovel. But in practical application, large color palette knife, painting knife is often used to scrape color. Do not scrape dry colors on the palette, however, because the blade is thin and flexible. There is a plastic scraper with a straight handle to ensure that the palette, especially the paper palette, will not be damaged when used. (4) Auxiliary tools. Scalpel or paper knife: Used to repair the raised thread on the canvas, remove small particles or stains on the picture. Large scraper: mainly used for making large canvas base, used in modern painting techniques for large area coloring.

This painting method differs in concept from the one-shot method and the traditional direct painting method in that the drafting of the whole body, as well as many intermediate and processing stages, must be completed in mind before the painting begins. To "see" the object as a finished painting, "see" it as a plan made up of many connected edges and color blocks. Therefore, there is no need to follow a certain sequence of steps to develop gradually, such as starting from the main area, and then completing the secondary area and so on. The surface techniques used are also arbitrary and can be drawn in various directions, from realism to almost abstraction. This method has two points which are the same as the first completion method: first, the original strokes are kept unchanged; Second, it doesn't require much preparation (although a little preparation is important in this case). If you draw a picture in this way, you can also say that it is done in one time. In this way, however, one can either finish the painting at once, or stop at any stage, relying on the mental image as a reference, and continue the painting a day or even a week later. However, a painting completed in several times is generally not as natural as one time, but it is suitable for painting a larger picture. The demonstration begins with a clear monochrome outline to determine the size of the human body on the screen. The seated figure is actually three heads high, or about 27 inches from the base of the spine to the top of the head. The head is two-thirds the size of the actual head, or about 6 inches high. The height of the sitting figure is 18 inches. This allows the foreground and background of the human body to be arranged in a spacious 24 "x 30" frame. Step 1: The details of the outline clearly show the very transparent brushwork used for the head. Use a small conical pen directly on the canvas for a simple and careful line drawing of the head. On the back and right shoulder, carefully trace the hair with a larger pen. These are the only preparations that can be done in a few minutes and serve as a starting point for future comparison. The next step is to complete the head. The size, shape, color and structure of each stroke and stroke will depend on how the head is drawn. Step 2: Compare this step with the processing in step 2 to see the elements of direct drawing. Apart from a slight change in the hair and the exposure of the hidden eyes, each stroke of this step hardly changes in the finished picture. The lines drawn in this step along the base of the forearm, legs and feet become dark in the final stage, with only changes in the edges. The painting was not done in clear stages. Most of the painting was never redrawn, and it was just a matter of blurring some of the edges and finally highlighting some of the light and dark areas. Human body: oil on canvas, 24 "x 30". Shoulder, face, arms and knife, stroke and edge along the left side of the body are the same as in step 2. Using a long conical pen and transparent paint, draw the hair onto the upper back and onto the background color, which is also transparent. For texturing method to paint the whole background with transparent paint, in the foreground for texturing method and then with a knife. Draw the rest of the body in traditional strokes with a medium conical pen. In accordance with the nature of this painting, the picture could have been drawn from the right foot and worked upwards to achieve the same result.

The oil brush consists of three parts: the holder, the metal hoop and the bristles. The key to the quality of oil brush is the pen hair. When buying, check whether the pen hair is even and natural, and should not be trimmed. The brush hair sold in the store is usually glued together, with the hand twist should not be spread out after the shape, at the same time to check whether the metal hoop is firm, there is a transverse ripple better. Finally, it depends on whether the brush is comfortable in the hand. Oil brushes can extend their service life if kept properly. Brush should be cleaned in time after use, so as not to dry the paint on the brush hair, when not used for a long time, should be thoroughly cleaned and sealed with paper. (1) If you do not use it for a short time, you can wipe off the remaining paint on the brush with cloth or paper, and then soak it in water after cleaning with turpentine. (2) Use turpentine to clean the used paintbrush. Two wide mouth bottles containing turpentine (if sauce bottle) can be prepared, and one can be used for preliminary cleaning to remove the remaining paint on the paintbrush; The other is used for a second cleaning. (3) The method of thorough cleaning. ① After cleaning with turpentine, dip the pen in water or warm water and rub it on the soap (note: do not use boiling water, because it will damage the metal hoop of the brush). (2) Squeeze with your fingers or rotate the hair in the palm of your hand. Repeat the above action until the soap turns white. ④ After rinsing with water, straighten out the hair of the pen, wrap the pen with a slightly harder paper and store it for later use. When cleaning the brush, use moderate force, otherwise it is easy to hurt the brush hair. The soap liquid used must be weak alkali soap (there is special brush cleaning soap abroad), in order to prevent the hardening of the pen hair. Can use silky hair scour, cannot use paint thinness absolutely, it can make pen hair because lose oil qualitative and embrittlement. Short brushes are usually thrown away, but if you heat a metal hoop over a flame and pull the brush out a bit without changing the shape of the brush, you can extend the life of the brush, which is economical and fun.

After the 16th century, canvas became the main material for oil painting. Among numerous hemp and cotton fabrics, pure linen was the most ideal canvas. (1) Next to synthetic fibers, linen is the strongest of all textiles. Its fiber strength is high, not easy to tear or puncture, can be scraped and pressed on the palette knife. (2) Dense linen woven by warp and weft lines, with good coloring performance. (3) Linen is woven by twisting flax. Its surface is not as smooth as chemical fiber and cotton cloth, but has vivid concave and convex texture. Painters often use linen as a subtle and interesting material aesthetic feeling. (4) Linen and flaxseed oil come from the same plant, have the same chemical characteristics, can support each other. (5) Linen has single thread (SW) and double thread (DW), easy to be processed into different thickness, different thickness, different texture of a variety of specifications. Coarse linen is ideal for painting with a large brush and a scraper, making it an ideal canvas for bold, lively strokes. Medium density linen is smooth and uniform in texture, which is the most suitable for rubbing cover dyeing in realistic style. Fine linen is used for small works, suitable for fine painting style. (6) In terms of preservation and restoration, oil painting on canvas is superior to oil painting on other supports, of which linen is the first. Flax grows in cold, damp climates. Belgium and Ireland are the chief producers of flax. Ripe flax is harvested intact from root to leaf and allowed to rot, leaving behind firm fibers that are then woven into cloth. Depending on the texture and thickness, linens are sold from about one meter to more than three meters wide, with specialty linens up to more than four meters wide. Pure flax is more expensive, so there are semi flax and cotton and linen blends and other cheap varieties. Because cotton and hemp grow and shrink with humidity, blended fabrics are not suitable for large canvases.

(1) The application of white oil paint: (1) White, as the color with the highest lightness and the strongest covering power, is often used to brighten a local color. (2) Mixing white with any other color will improve the brightness of this color and reduce its purity. (3) Equal mixing with black can produce pure gray, unequal mixing will get different lightness of gray. Mixing white is not the only way to make the color lighter. In nature, any color changes with the intensity of light. Such as red, when it is dark it tends to be blue-purple, when it is bright it tends to be orange. In other words, to enhance the bright red color, you must add orange yellow. (2) The application of black oil paint: Black and any other color harmony may become "dirty" color. (2) Black as an exclusive color, generally applied to the screen independently, or mixed with white into gray use. (3) There are three traditional methods to reconcile black: Deep red + ripe brown + half emerald green = warm black Cooked brown + plain blue + half emerald green = cold black Ripe brown + emerald + deep red = neutral black (3) White and black usage of modern oil painting: Classical oil painting uses white pigments, in addition to color, mainly to strengthen the contrast between light and shade, so that the pigments become opaque and thick in the bright part, the purpose is to use white to brighten the color. Modern oil painting, especially impressionist painters, after observing the outdoor light, generally added white to the pigment to lighten the overall color of the picture. Impressionist painters such as Manet, Monet and Seurat mixed the colors used with lead and white in different degrees to increase the brightness of the colors and achieve the effect of natural light. Black was not found in the spectrum, so the impressionists eliminated it from their palette. Then they learned to blend "black". Combine the pure tones of ultramarine, magenta and emerald green to make them close to black. Renoir called black "the queen of colors", lautrec, Cezanne, Gauguin, Matisse, Picasso and other modern outstanding oil painters have used black in their paintings, which makes their painting colors full of deep power.

Color Strictly speaking, when drawing from life, it is only necessary to know which color combinations represent the object and colors you are observing. If you paint the right colors and their relationships, the picture must be harmonious. Because the "light source" itself helps to create the natural color harmony of the object. Sketches, shading, and even edges are measurable entities, but the artist's color is not suitable for this precise analysis, because it is highly expressive of subjective feelings. Therefore, for many painters, the ability to observe color is a "true skill". Some painters seem to master color naturally, while others always find it untouchable. There are some painters who think color is not worth mentioning. They don't work very hard on color, they work on other things. They followed the principle of "drawing is as good as a sketch is good enough" (this is said to have been David in the late seventeenth to mid-eighteenth centuries). I don't mean to criticize that. If a painter doesn't care too much about color, or if he finds it difficult to work with color and interferes too much with the painting, there's no need to focus too much on it. Indeed, my sympathy goes to those who are struggling with color. Especially beginners. The stacks of color theories, concepts, terminology, and precepts are enough to intimidate anyone. David XVIII -- 19th century French painter. (translator) Ingres was a French painter of the 19th century. (translator) Color (warm and cold) When I talk about color and chromatism in this book, I do so in a relative sense. I think colorific warm cold is not inherent absolute. Chromaticity changes with light and neighboring colors. For example, bright orange appears "warm" when compared to its complementary color, blue, which is a primary color of the same brightness, and does appear soft and warm in normal natural light. But if you change the light source to a dark blue, the orange becomes almost black and the blue almost white. Of course, this is rarely the case, unless you wear sunglasses. But it goes further to show that the nature of light is an important factor in painting. I like to paint in the natural light from the north because it gives me the color relationship I need. Under normal light conditions, coloration can be changed by adding warmer or cooler colors of the same lightness. For example, a skin tone mixed with russet yellow and rose-earth red can be cooled by adding a touch of emerald green, which is relatively cooler than the original tone. As long as the added cool color belongs to the same brightness, it can change the color cold and warm without changing its brightness. This illustration illustrates four terms for mixing colors. The three primary colors are red, yellow and blue. Primary colors are basic and cannot be produced by blending with other colors. The intercolors are orange, green and purple. They are combined in two primary colors. A complex color is a combination of three primary colors. It is generally called brownish gray. Any two colors opposed to each other in a diagram are called complementary colors. Yellow and purple, for example, complement each other. So are red and green. Complementary colors mix with each other to form complex colors.

Oil painting has a variety of methods and tools. The historical evolution of oil painting over the past several hundred years has made painting tools constantly improved. In general, the tools commonly used are as follows: (1) Painting box. A tool box for holding paint, brushes, palettes, and toners. Mostly wood, with three retractable legs, used for interior painting and outdoor sketching. (2) Easel. Used to hold the frame in place. According to the painter's needs, the indoor easel can make the picture up and down before and after the movement; Folding easels are used for field painting. An easel can be combined with a picture box or a picture table - picture box easel. (3) Drawing table. Interior painting is used to put palettes, pigments and other utensils, articles, etc. Professional painting table has a variety of functions, can freely move and adjust the height of the best. (4) Draw a stool. Indoor painting stool can be adjusted height, outdoor painting stool can be folded. There is also an up and down trapezoidal painting stool for large oil paintings. (5) Draw an umbrella. When going out to sketch, it can be used for shelter from rain or direct sunlight. Specialized umbrella usually has fixed Settings. (6) Brushes. There are different pen types and sizes, divided into animal and artificial fur two categories, used for color and picture coloring. (7) Drawing knife. There are many shapes. It is mainly used for color mixing, painting, scraping, cleaning and so on. (8) Color palette. There are rectangle and oval two, used for color and pigment placement. (9) Oil can. Used for toning oil, turpentine and other additives. A small oil can with a spring at the bottom can be clipped to the palette. (10) Pen washer. Use for washing or shelving colored brushes. (11) Painting sticks. Also known as a wrist scepter. Used to support the arm while painting. (12) Cloth tongs. Wide jaws, used for canvas mounting. (13) Order guns. Used to hold the canvas in place, like a stapler. They come in both sizes and are slightly longer and harder than regular staples. (14) Hammer and nail. The traditional method of stretching a canvas. Some of the small hammers have magnetic ends that can draw nails. (15) Sandpaper or pumice stone. Used as a base to polish the canvas. (16) Charcoal, pencils and erasers. Used for drawing. (17) Sketchpad. Used for sketching or creating. (18) Newspaper or cloth. Used to clean pens or knives. Cloth head also has a special purpose to wipe the picture. (19) Electric mixer. Used for making base or glue. (20) Brush and scraper. Used as a canvas base. (21) Heater. It is used for heating when making gel or concoction. (22) Marble slab and grinding pestle. Used for grinding oil paints. (23) Mirror. When you look at the picture in the mirror, you can see mistakes in the design. A zoom lens is used to see the overall effect, and a black lens is used to see the relationship between black and white. In addition, beakers, bottles, metal boxes, metal cans and other containers, as well as rulers, scissors, pliers, tape, clips, balances, copper mortar, hair dryers, airbrushes, etc., can come in handy.

An overview of the Oil painting is a kind of painting with oil pigments on canvas (paper, board). It originated in Europe and is popular all over the world. (There is also a view that oil painting originated in China, and ancient Chinese lacquer painting is also a kind of oil painting, which spread to Europe and promoted the development of European oil painting.) The paintings of ancient and medieval Europe are mainly "glue painting" (mixed with glue), "wax painting" (mixed with wax), "fresh painting" (i.e. fresco), "egg painting" (mixed with eggs and glue). Their expression method and picture effect have been similar to oil painting, oil painting formation and development has an important influence. However, their tool properties and painting methods have many shortcomings, painting is very inconvenient. For example, wax painting to heat the wax, while the painting is hot; Fresh paintings should be painted when the plaster water on the wall is wet; Egg powder painting due to call yolk, color dries too fast. Therefore, ancient painters have been looking for more ideal painting tools and materials. Some people thought of painting with oil. Since the tenth century in Europe, there have been records of painting with oil. But stay in sporadic attempts, can not find the ideal toner. Down to the beginning of the 15th century, the Nordic Renaissance Netherland painters Van Eck brothers (Hubert van Eck 1370 -- 1420, Yang Van Eck 1385 -- 1441), summing up the experience of predecessors, after repeated experiments, finally found the ideal color oil - flaxseed oil, walnut oil. The color that grind attune with them, colour is changeless, lubricious layer is firm, stem not fast not slow, facilitate painting. After the innovations of the Van Eyck brothers (for which they are often referred to as the inventors of oil painting), oil painting began to take shape and soon spread to Italy and other countries, quickly becoming a major type of European painting. For hundreds of years, the tools, materials and techniques of oil painting have been constantly improved and developed, and a large number of famous artists and schools have emerged, forming a magnificent and colorful artistic tradition. Oil painting was introduced into China mainly in the late Qing Dynasty and early Republic of China. Due to historical and social reasons, its long-term development was slow. It was after the founding of the People's Republic of China that oil painting gained real attention and development in China. With the development of art education, publishing, exhibition and cultural and art exchanges between China and foreign countries, oil painting, a foreign art form, has gradually become familiar with and loved by the Chinese people. The group of oil painters has also been expanding, and produced large-scale oil paintings such as The Founding Ceremony, The Fall of the Chiang Dynasty and The Father. Oil painting, like Chinese painting, has become one of the main kinds of painting in China. Of course, we should also see that oil painting for China, after all, is a foreign kind of painting, and we need to continue to learn from foreign countries and further explore the Chinese atmosphere and national characteristics of oil painting, so as to make it more popular with the masses. This is an oil sketching basic teaching reference book, is dedicated to learning realistic oil painting beginners to guide the way. It does not involve the creation of oil paintings, nor does it involve various artistic schools. It's a little bit smaller, so it's easier to write. And for beginners with a clear goal, the effect will be better. In recent years, China's oil painting has developed rapidly and is in the period of vigorous development. There are many new problems about the basic teaching of oil painting to be studied. However, sketching is still an irreplaceable basic course for cultivating and training students' quality. In order to avoid the sketch may be produced in overly dependent objects, the disadvantage of students' creativity, the book in the relevant sections in this paper, and arrange the appropriate practice to exert students' artistic imagination and creation spirit, actively want attention in reading and sketching practice, careful body difficult and cites some of the principles, flexible to use. To develop a true painter, basic training and oil painting should not be seen as separate things. Good sketches can also be a true work of art. The most important thing is not to equate oil painting with imitating nature, it permeates the painter's aesthetic interest and spirituality from the bottom of my heart from beginning to end. Without this, oil painting can only be a shell of nature, which would be fatal to a student or a painter. Fundamentals of oil painting For a young man who has made up his mind to study oil painting, I believe this book will be useful. It will systematically introduce the basic rational methods of oil painting. The exercises arranged in the book can help aspirants to achieve their goals in a step-by-step manner. Oil painting is a relatively difficult to master the kind of painting, before painting oil painting to carry out a period of sketch training. In professional art schools, it is common to start with plaster models and then draw real heads. This kind of sketch sketch ability training is of great benefit to improve students' modeling ability and aesthetic taste. After students basically master the skills of drawing plaster or head, they can enter the stage of oil painting. While learning oil painting, they still need to constantly increase the difficulty of sketch training, from painting head to painting bust and full body. In the academy of fine arts schools are equipped with human body classes, these courses and oil painting class progress cross link each other. Experience has proved that sketch training is the foundation of learning oil painting. All comrades who study oil painting must have a certain basis for sketching. Those who have not learned sketch should learn to sketch first. Do not be in a hurry to draw oil painting

After the van Eyck brothers' innovation, oil painting quickly became the most important painting in The West and was widely popular all over the world, which was inseparable from the superior performance and rich expression of oil painting tools. Compared with watercolor and gouache, watercolor and gouache have their own advantages and features that cannot be replaced by other paintings, but there are obvious limitations in tool performance and expressive force. For example, the water of watercolor painting is not easy to control, the fluidity of water, randomness and the limitation of painting time, affect the accurate and specific description of the object, the picture can not be too big, the picture is afraid of light, afraid of sun, afraid of tide, easy to fade, difficult to preserve. Although gouache is relatively free in expression, it can be large or small, coarse or fine, and has a variety of expression techniques, but due to the large amount of powder in the color, the dry and wet color changes significantly, which is not easy to connect and modify, and the middle layer of dark color and rich is difficult to show. Gouache picture is also afraid of tide, afraid of the sun, the color is easy to mold, fall off, also difficult to preserve for a long time. Comparatively speaking, oil painting does not have these problems. The color of oil is rich and stable, and does not dry or wet. When painting, oil color dry fast and slow, you can carefully consider, leisurely writing, color block shape, size, direction are relatively easy to control, easy to connect, but also easy to modify. Oil painting color color can become very thin, with transparent, translucent effect, and can be very thick, with strong covering power and adhesion, can be multi-level coverage, thick coating, can be made for a long time. The form of expression and technique of oil painting, also very rich and diverse, can be large or small, can be thick or thin, thin or thick, transparent and opaque, flexible. In a word, the performance of oil painting tools and materials has obvious advantages, painting in a variety of modeling factors color, light and shade, lines and so on can be comprehensive, full use. Oil painting can be very specific, detailed representation of the object of all the modeling and visual characteristics -- that is, the representation of the object in specific time and space, the light and color relationship, light and shade levels, body structure, sense of space and quality, so that the picture image to the point of extraordinary lifelike. Moreover, after the color of oil painting dries out, it is very strong, not easy to damage, and can be preserved for a long time. The original paintings by Rubens and Rembrandt, which were exhibited in Korea, were as dazzling as new paintings despite centuries of experience. From the overall effect of the picture, if watercolor painting gives people a transparent, light, smooth feeling, gouache painting gives people a bright, soft, rich feeling, then the characteristics of oil painting is rich, thick, calm and shiny sense. By the colour of oil painting, brushstroke and color layer thick thin alternate with (include organization of canvas cloth grain to enter a picture) the oil painting muscle that makes shows oil painting distinctive qualitative ground feeling, quality of a material is beautiful, and very rich changeful. Of course, oil painting has its limits. Oil painting is often compared to a symphony, heavy weapons, can be said to be very appropriate. Symphonies are rich in sound and shocking, but they cannot replace light music. A cannon is far and powerful, but in some ways it is not as powerful as a small pistol. Oil painting is not as easy as watercolor and gouache. Oil painting has more requirements to tools and materials, and the price is more expensive. It is not easy to form a complete set. Especially in rural areas, it is difficult to see original oil paintings and lack of oil painting teachers. Want to learn canvas to want to have definite sketch, colour foundation again, because this canvas is more difficult popularize. Oil painting tools and materials are heavy, the picture oil color is not as fast as watercolor, gouache dry, go out sketching, carrying are not convenient. Although the expressive force of oil painting, expressive technique is rich and colorful, but also is not omnipotent. Some painting genres and styles, such as New Year pictures, illustrations, comic books and graphic design, are not completely impossible to use oil painting, but after all, it is not appropriate. We also need to better understand and master the performance of oil painting through practice, and give full play to the advantages of oil painting.

Oil painting in general can be divided into three categories: figure painting, landscape painting and still life painting. (1) Figure painting takes specific people in life as the expression object and reveals the personality characteristics and social life style of specific people. European religious works are all about human beings. Madonna, Christ and other images are derived from people in life. The rise of oil-based paints in the 15th century allowed painters to more accurately and vividly depict the nuances of light and atmosphere in the skin and clothing of their figures. Figures by Bellini, Da Vinci, Raphael, Titian and other great masters are as realistic as they look. Figure painting in the 17th century was more natural, realistic and charming. The 18th century was more skilled in figure painting. From the 19th century to the 20th century, the styles of figure painting appeared diversified. Figure painting can be divided into portrait painting, genre painting, historical painting and military painting. ① Portraits include head portrait, bust, bust, single portrait, double portrait and group portrait. In terms of nature, portraiture is divided into memorial portrait, dress portrait, life portrait, self-portrait and so on. Self-portrait is a favourite subject of many painters. Rembrandt, the Dutch portrait master, took portrait painting as the main goal of his artistic activities in his life, and made about 70 self-portraits. (3) Genre painting is a painting that expresses social life, local conditions and customs. Genre paintings, mostly based on real life, are most likely to resonate with the public. Such as French Miller "Gleaner", "Evening bell" and so on. ③ Historical paintings mainly represent meaningful events in the development of human society, including myths and legends, historical stories and meaningful events in modern life. Such as Dong Xiwen's "Founding Ceremony", Davit's "The Death of Mara". ④ Military paintings are works with the theme of war. For example, The Fall of Breda by Spanish painter Velazquez. (2) Landscape painting, as an independent genre, was created by Dutch painters in the 17th century. Before this, the description of scenery mostly appeared in the background of figure painting. The development of oil painting landscape has gone through classicism, realism, impressionism, post-impressionism and modern symbolic landscape. French painters Corot, Courbet, Russian painter Levitan are excellent landscape painters. (3) Still life paintings are mostly based on daily utensils, flowers, fruits, food and hunted objects. Painters write emotions with objects, reflecting the breath of life and characteristics of The Times through the depiction of still life. The earliest paintings that can be classified as still life paintings appeared in The Pompeii period of Rome, and the Dutch school of painting as an independent genre began in the 17th century. In the history of art, caravaggio, Cornes, Chardin, Manet, Cezanne and so on had a great influence on the development of static painting.

cubism Cubism is an art movement that originated in Paris between 1907 and 1908. In complete contrast to brutalism, it represents the tendency to rationalize. Impressionist and brutalist paintings are basically expressive works of art, imitating nature. Cubism had its roots in Cezanne's interpretation of nature as consisting of spherical, conical cylinders. It also led to the perception of the original form of African African sculpture introduced to Western Europe at that time, and the theory of Picasso, Brack, and Deland that tried to reduce nature and man to simple geometric forms. When Matisse viewed Braque's "The House of Aix" at the Fall 1908 Fine Arts Exhibition, he called it a collection of small cubes, which led to the critic Vosell's derision of cubism. Cubism was deeply influenced by Cezanne's generalization theory of natural form in the early stage. Later, the disintegration of nature intensified, the collapse of traditional visual perspective, the movement of viewpoints, free connection of the disintegrated aspects, leading the painting from the visual reality to the rational reality. Finally, realistic elements are introduced into the picture, so that the early grey, cold and gloomy colors become bright, and the techniques of blending and pasting and painting pigments with sand are developed, forming realistic cubism. Cubist representative painters are Picasso, Braque, Elban, Gerry, Lorenson, Delaunay and so on. The cubist movement lasted only six years from 1907 to 1914. Picasso was born in Malaga in 1881 and died in Mungwyn in 1973. In 1907, he created his first cubist painting, The Maid of Avignon, which had a strong response to the art circle in Paris and announced the birth of Cubist painting. Later with Braque developed cubism painting style, for the European painting world attention. Picasso's works are of high attainments. He received strict realistic basic training in his youth, and his early works are close to classical style. At the beginning of the 20th century, he began to create cubist paintings, and he continued to pursue innovation in art forms all his life, exerting a great influence on the art world. So it is known as "Picasso's life is a modern art history". As a young man, Picasso fought on the Popular side of the Spanish Civil War. Engaged in the underground struggle against fascism during the Second World War. In 1950, he published three pictures of doves in solidarity with the movement to safeguard world peace. In his early years, Brack was attracted by poussin's work and his love for Corot, while paying attention to impressionism and studying the works of Van Gogh and Seurat. In 1906, influenced by the style of Matisse's works, he began to turn away from the early impressionism and toward the bright colors of brutalism. In 1907 he painted several geometric stylized works, showing his interest in Cezanne. In the autumn of this year, he met Picasso and was deeply influenced by Picasso when he saw Les Demoiselle d 'Avignon, which he could not accept at first. He even painted similar works of his own. The bathers and The Maids declared that he went out of the range of fauvism and entered the Cezanne circle. In 1908, Braque's work was rejected by a panel of judges for which Matisse was a judge, and described as a "little cube". In November of the same year, Brac himself held a solo exhibition, which Matisse said: "Brac made all objects, landscapes, people, houses, into geometric shapes and squares." Since then, the nickname cubism has become the most important movement in 20th century painting.