Theory of tonal 3

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