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painting-portrait · 2 years

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Painting-Portrait ART

China

During the Reign of Emperor Kangxi, missionaries such as Lang Shi-ning, Pan Ting-zhang and Ai Ming-hui offered paintings to the imperial court, thus bringing western oil painting techniques to the imperial palace. During the reign of Emperor Yongzheng and Emperor Qianlong, the bao-yi (manchu for servant) of the imperial court was ordered by the emperor to learn oil painting from missionaries, but left little trace. In the Qing Dynasty, The 13th Bank of Guangzhou became the only trading port in China, and "export painting" was one of the export products. Foreign painters also came here to make a living, and received their students, cultivating the first batch of Chinese oil painters, such as Shi Bellin, Guan Qiaochang and Lian Chang. Shi Bellin was "the earliest oil painter in China". After the 1830s, The British painter George Chenally came to China to teach gouache painting techniques, greatly improving the level of Guangzhou "export painting", Guan Qiaochang is his master, Guan Qiaochang's "Head of the old man" was selected to the British Royal Academy of Art exhibition, is the first Chinese painter in the European exhibition. [2] [3]

After the Reform movement of 1898 in the late Qing Dynasty, many young students went to Britain, France, Japan and other countries to learn Western oil painting. Among them are: Li Tiefu, Feng Ganbai, Li Yishi, Li Shutong (Master Hongyi), Lin Fengmian, Xu Beihong, Liu Haisu, Yan Wenliang, Pan Yuliang, Pang Xunqin, Chang Shuhong, Wu Dayu, Tang Yihe, Chen Baoyi, Guan Liang, Wang Yuezhi, Wei Tianlin, Xu Xingzhi, Ni Yide, Ding Yanyong, etc. After returning to China, these people brought advanced teaching methods and concepts from the West and Japan. For example, Li Tiefu was the first Chinese to master the pure oil painting technology and was known as the "Father of Chinese oil painting" [4]. Zhou Xiang founded China's first art school when he returned from the West in 1911. In 1912, Liu Haisu founded the Shanghai Academy of Painting, and for the first time began to draw with human models; In 1919, Mr. CAI Yuanpei, who served as the director of education, initiated the establishment of the first national fine arts school -- Beijing Fine Arts School (president Lin Fengmian). In 1927, the Department of Art was established in Central University (Xu Beihong was the director). In 1928, Hangzhou founded the first university system of the National Art College (Lin Fengmian as president).

The three main painting schools of this period are: realism school (Xu Beihong); New School of Painting (Lin Fengmian, Liu Haisu); Modernism (Pang Xunqin).https://painting-portrait.com/

In this period, China was torn by war. Without stable social environment, oil painters were displaced from place to place. Many oil paintings used paintings as weapons to reflect the war and expose tyranny, such as Wang Shiguo's "Taierzhuang Bloody Battle", Tang Yihe's "Victory and Peace", Situqiao's "Lay Down your Whip" and so on. Because of the war, some painters went to northwest and southwest China and other ethnic minority areas, and created masterpieces such as The Woman in Negative Water (Wu Zuoren) and the Kazakh Shepherdess (Dong Xiwen).

At that time, yan 'an painters' painting style was influenced by "Speech at yan 'an Forum on Literature and Art", and tended to serve "workers, peasants and soldiers". Xu Beihong's realism was in harmony with The Times and gradually formed the standard oil painting in China.https://painting-portrait.com/

Under the influence of the view that "new art must be combined with the people", realism dominated the world, while landscape, still life, figures and other subjects were neglected. During this period, a number of revolutionary historical paintings were produced, such as Hu Yichuan's "Opening Shackles", Wang Shiguo's "Joining the Army", Luo Gongliu's "Tunnel Warfare", Dong Xiwen's "Founding Ceremony", Li Zongjin's "Seizing Luding Bridge" and Ai Zhongxin's "Crossing Snow Mountains". With the development of the mass movement, Chinese oil painting entered the situation of "overall sovietization", and the oil painting teaching with Pavel Petrovich Cheschakov teaching system as the core quickly became the single teaching system of Chinese oil painting, and cultivated a number of oil painting backbone. Later, a group of oil painters made a breakthrough in the single oil painting system in the expansion of the spirit of "nationalization", forming luo Gongliu's "On Jinggang Mountain", Li Huaji's "Princess Wencheng", Yuan Yunsheng's "Water Town", Xu Jianbai's "Memories before the Old House" and other works.

In 1964, under the slogan of "class struggle is the key to everything", Lin Biao, Jiang Qing and others carried out a cultural sweep against the literary and art circles. Many painters' works were washed and looted. Zhong Han's Beside the Yan River, Du Jian's Marching in the Torrent, Li Huaji's Princess Wencheng and Qin Zheng's Home were all exposed to public criticism on false charges and destroyed completely.https://painting-portrait.com/

On the other hand, oil painting became a tool to create gods. Chairman MAO went to The Source of Peace became a typical work of the time, with a print volume of more than 100 million copies at that time. At this time, some young oil painters began to emerge, such as Chen Danqing, Shen Jiawei, Chen Yiming and so on. Representative works include: "Never Truce", "Ode to the Yellow River", "Tears shed in the Harvest Field", "I Stand Guard for the Great Motherland" and so on.

After the Cultural Revolution, there was an opening period of literature and art, in which various forms of painting flourished and diversified. Among them, Luo Zhongli's Father, Chen Danqing's Tibetan Paintings, Wen Lipeng's Daughter of the Earth, and Zhan Jianjun's Looking Back are all masterpieces of this period. After the initial period of art gushing, oil painting has come to a new crossroad, and The Chinese painting world urgently needs more modern and fresher air. Among them, 胡悌麟, Jia Difei's "General Yang Jingyu", Su Xiaobo's "Aunt's House", Yu Xiaofu's "I gently Knock on the door", Yu Yunfei's "A corner of the Park" and other works, under the attention of contemporary consciousness of thematic painting for a new development.https://painting-portrait.com/

However, although the shackles of culture have been lifted, due to various reasons (mainly economic reasons), the vision and thinking of most painters have not been fully opened to appreciate the various and complex changes in the world today, so there is a lack of truly representative works. After all, Chinese oil painting has entered a new era, which is learning, transforming and constantly enriching.

古典

The classical

The development of oil painting has experienced several periods of classical, modern and modern times. Oil painting in different periods is controlled by the artistic thoughts and techniques of The Times, presenting different features.https://painting-portrait.com/

The historical conditions in the early stage of oil painting established the realistic tendency of classical oil painting. 15th century European Renaissance, humanism critique of religion, with a focus on the reality of the society, actively seek many famous painter to gradually get rid of a single Christian classic for the creation of the subject matter, characters, scenery, items from the start to life at that time to observe and describe directly, make the works of religious subjects with obvious secular reality factors, Some painters depict real life scenes entirely. Renaissance painters inherited the Greek and Roman artistic concepts, that is, not only pay attention to the work to describe a certain event or fact, but also reveal the cause and effect of the event or fact, so the formation of a focus on the conception of typical plots and typical image of the art. At the same time, the painter also explored the application of anatomy, perspective in painting, and the role of the distribution of light and shade, forming the scientific principle of modeling. The application of human anatomy makes the figures in the painting have the accurate proportion, shape and structure relationship as real. The establishment of focal perspective makes the painting form the depth space of illusion through composition, and the scenery in the painting is the same as the directional instant visual experience in reality. The method of shading makes the objects in the painting unified under the light from a main light source, forming a clear hierarchy from near to far. The artistic theme of humanism and the modeling concept of pursuing realism can not be perfected in other paintings because of the limitation of tools and materials, and the properties of oil painting tools and materials are just suitable to fully reflect the two. As a result, classical oil painting has become a highly realistic look that has been produced for a long time.https://painting-portrait.com/

Some oil paintings in the 17th century emphasized the sense of light in oil painting, and created the sense of light by using the contrast of cold and warm colors, the contrast of light and shade intensity, and the contrast of thickness and layer, forming a dramatic atmosphere in the picture. Italian painter Caravaggio broke the orderly and harmonious light effect in his previous oil paintings. He intensified the contrast of light and shade on the picture, and often used the large dark part of the background plane to set off the bright figures in the foreground, making people feel the dazzling light in the painting. Spanish painter el. El greco scene processing into under the dappled light shadow, he is not from the light and shade two decent, but from the discontinuous scattered on modelling, the distribution of light and shade of color changes in temperature and forming of continuous change, dignified pen, color bleeding from each other in the extrusion, the uncertain effect of pictures to the person, some even filled with mystery and anxious mood. Rembrandt, a Dutch painter, also took the sense of light in his paintings as a means to express people's mental state. In a large number of portraits he made, the figures were covered by large dark parts, and only the important parts such as face and hands showing expressions showed bright brightness. He used calm colors to paint the dark part in multiple layers to make the dark part appear deep, and used thick paint and painting knife stack color method to paint the light part to create a thick sense of volume. At the same time, the use of brushwork was also explored by many painters.

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