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美国作业代写:Application of synthetic materials in oil painting creation

2018-01-12 来源: 51due教员组 类别: Essay范文

下面为大家整理一篇优秀的essay代写范文- Application of synthetic materials in oil painting creation,供大家参考学习,这篇论文讨论了油画创作中综合材料的应用。油画的表现方法随着材料的进步而丰富多样,不仅使画面效果展现了强烈的构成意识,还使色彩更富有质感。近现代大部分的艺术家在研究阐释画面内在精神的同时,也越来越重视画面形式语言的探索和表现。材料的应用增强了画面的形式感,同时也使作品的趣味更加活跃,使构思的意味更加明确。

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The spiritual exchange of mankind was born of painting, and the painting noumenon is material, and the material is inseparable from the method. Oil painting is not the whole of European painting, but a chain in the painting chain, through the study of Western painting, to understand the history of Western art of the stage of the development of painting is self-evident. The use of materials in painting is subject to the composition of the entire picture, is part of the picture. I want to express the idea of combining the particularity of material with the theme of the picture that I want to express. The material itself is a kind of language, and to break the particularity of this language, integration to the picture to express the whole language, is the material, canvas, oil painting media, mutual integration and complementarity of the process.

In medieval Europe from 3rd century to 13th century, it was the main content of the Holy icon painting to strengthen the divinity, permanence and nobility, advocating the spirit of religion. The painter uses multilayer superposition method more. Color in the continuous stacking process gradually saturated rich. During the Renaissance from 13th century to 16th century, the painter of the German rand, Van Ike brothers, made a deep study of the material and improved the oily material, and its contribution was to solve the problem of drying speed in oil painting. After 16th century, the oil-laden language became the mainstream technology of painting and spread throughout Europe. The dark brown background of the fragrance, the technology of the white-painted and glaze-coloured technique becomes the main form to emphasize the sense of space and volume. The oil painting develops to 17th century, from the technique to the skill again has the obvious change. The Baroque art represented by Rubens is close to "direct drawing" in his works, and it belongs to "indirect drawing" in material nature and procedure. He is an important figure in the development of painting language. And the work of your branch, whether it is in the brush strokes on the quality of materials on the oil painting "direct" a step forward, these changes basically formed the "direct painting" of the initial appearance, from the "direct painting" to the popularization of the more than 200 years of time, until the 19th century impressionist appearance, "direct painting" Become a commonly used technique. At this time, the use of pigment is a factory production of tubular pigments. The opaque color of oil paints, which can be laminated and coated, schonfan the color of the canvas, while paying more attention to the personalized use of the strokes. The development of painting language from "indirect descriptive" to "direct drawing" and the evolution of traditional art to contemporary art two parallel art development lines after more than 2000 years. Entering the 20th century, in an endless stream of art schools, with the High-tech progress, the development of industrial civilization and the rapid development of scientific theory has a direct impact on the artist's artistic concept, from the concern of the thinking of art materials to pay attention to and thinking of material art, the gradual improvement of materials evolved into the art language evolved into a visual subject of painting.

Texture, can be mottled mottle barge, peaks, can also be calm, water mirror days. Kant's evaluation of aesthetics: aesthetic intuitive thinking is directly facing things and less and symbolic representations, so it is close to the mood, because the human emotions are directly tied to the specific things, less tied to abstract things. On the other hand, the concept of understanding penetrates into the content of things, and the object of direct care and emotion, then more in the form of things, that is, the appearance of the image appreciation judgment is not like rational judgment with true kindness as the object, but in the United States, that is, the form.

The ancient paintings of wax paintings, the pictures of the Holy Dane and the contemporary composite materials are everywhere in the texture. Texture for the screen, first of all it can be perceived entity, is the first visual recognition of the language. I don't use "thick and thick" in my work, to the beauty of the texture of the pursuit, I think he will hinder us to understand, explore the texture of the language in the creation of the spirit of communication, sometimes the material in the determination of the language direction of the work, sometimes the material according to the human mind also according to its own characteristics in the change.

The language of oil painting texture in my creation mainly embodies in the spirit that I convey the material as the theme of the expression creation, so that the oil painting texture obeys to the painting and the picture is harmonious, thus strengthens the tension of the picture, makes the language relation and the language order harmonious, and embodies the logic of the picture. Again, this is not an easy thing to do. I try to make this kind of painting language appear in my creation, this is a concept that cannot be neglected.

The methods of oil painting are rich and diverse with the progress of materials, not only make the picture effect show a strong sense of formation, but also make the color more rich texture. Most of the artists in modern China are studying and interpreting the inner spirit of the picture, and they pay more and more attention to the exploration and expression of the form language. The application of the material enhances the form sense of the picture, but also makes the interest of the work more active and makes the meaning of the idea more clear.

Comprehensive material in the picture broke the plane and space, three-dimensional and device of the comprehensive view. Convey to people the impact of visual breakthrough in traditional painting limited to the two-dimensional form of painting on the shelf to show the multidimensional nature of the visual space of oil painting.

The material as the composition of art, is endowed with the particularity of the Times, modern painters even put materials and ideas as an important factor in the creation. We know things in the order of feeling, perception, thinking, judgment, and reflective reasoning. The same in the face of material works, the first is through the authenticity of materials to create the spirit of the work of the Association and Memory, in order to understand a piece of work, if the work contains personal thinking, experience and experience, but also let materials have life. At this time the material is not dispensable possessed, but and the whole linked together to form a harmonious unity of the spirit of the entity. The intention of the material expression is realized, showing the form beauty of harmonious and interdependent picture relationship.

The development of painting to the present, the road is tortuous, repeated, but the general is in conformity with the times, and after the middle of the 19th century, the formation of modernism, its core is to highlight the personality, in terms of personality, the combination of materials and painting will reflect its language of the Times. We cannot go back to the past, nor can we express it in the same way as we used to. What I am exploring is the role that materials play in my creation, not simply the language of materials, nor the stacking of pigments, but the combination of materials and oil paints. Seemingly random combination, it is what I want to express this form of beauty, and the understanding of the language of painting.

Rauschenberg's works first show the beauty of form, but it makes me feel like he's communicating, passionate, loving, and thinking more calmly about the language of painting, not looking for common ground, but looking for a different point, looking for a piece of work that can honestly express feelings about the language of painting, Rauschenberg's work just appeared in the world where I was lost, and I was looking for a way to paint my own language.

In the process of my creation, thinking about the texture of materials, formal language can express the feelings I want to convey, my understanding is: The work is to have the theme of expression, or reflect the times, or social. There are always two different directions: one is a kind of reaction, and it reflects the reality, will happen to promote, help into the role. Second, reflective reflection, such as the modern Art of Dada began, it is Shun Cheng two World War and Spanish Civil War brutal, chaotic, solitary crisis, the spirit of despair, but for Western oil painting, is experienced a long period of religious domination of the Middle Ages, Renaissance, classical modern, modern times, Different periods of oil painting by The Times of the art of domination and skills constraints, showing a different appearance, reflecting the diversity of oily materials. Reflect the society, but also want to obtain the spirit of freedom, to maintain the spirit of purity, this is reflective reflection.

I think, as Shi Tao said, "When the ink is with the Times", painting reflects the times, and painting language is the language of the Times, as I explore the art, can do is to let oneself precipitate the language of the Times, to show the memory of this era left to us, and I choose the material into the canvas of the language to express, I am exploring the way.

The expressive force of the material is that we can intuitively see and can touch the painting language, precipitation, accumulation is the reflection of history left to us, and our thinking is to follow the footsteps of history constantly innovate, innovation is not only the requirements of the times, but also our life is necessary, we adapt to the survival of the need Innovation is as an important reflection of our exploration, how to leave a wonderful pen in this colorful world is worth our efforts to explore one thing.

The simpler the more complex the performance, this is the reflection of the material to me. The first thing we see in a painting is the style, composition, style, strokes, color, and then to think about its creative materials and expressiveness, and when the painter in the creation of the first consideration is painting materials, today painting materials are no longer limited, and its formal language is also rich with the times, but no matter how the painting material changes , the requirements for the spirit is greater than the requirements of painting creation, the spirit of the communication is the source of painting works, to understand the material is the basis of painting, in order to know its role in the basis of doing better.

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