Human society has entered the development stage of capitalism, and modern industrial civilization has changed the relationship between people, changed the traditional way of life, and accelerated the pace of life. Art entered the market as a commodity and brought fierce competition to the development of art. The development of modern technology has changed the relationship between man and nature, and human eyes have extended to the macro and micro worlds. Therefore, modern artists must create and choose a new artistic language to express the new world they know. Modern philosophy directly affects the creation of modern art. Schopenhauer’s egoistic thought and voluntarism lead to epistemic intuition. This has enabled the artist’s genius and inspiration to become the foundation of artistic creation. Later Nietzsche and Freud made a comprehensive analysis and reveal of the human spiritual field, and became the source of modern art creation. Bergson’s “irrational philosophy” is a complete negation and betrayal of the negative and traditional values brought about by modern industrial civilization. Since then, art is no longer a reflection of the objective world, but a manifestation of the subjective world.
The emergence and development of modern art runs along the inevitable law. Since the ancient times, Western art has emphasized practical and material reproduction. It has experienced development and improvement in different eras and reached its peak in the European Renaissance. When photography was invented, the reproduction of realistic painting has been replaced by photography. Painting must choose a different path, from reproduction to expression, from the writing of objective material forms to the expression of the artist’s inner spirit. Since its inception, painting has been designed to serve others. Primitive society was practical, and later it served God, life, and political struggles. Western artists claim that they no longer serve whom, and art is independent to perfect the art itself. As a result, the values of art break with tradition. All of this is slowly changing from quantitative to qualitative changes with the development of society and the ideological trend. The beginning of Modern Painting Art began with Impressionism.
The emergence of Impressionism is a landmark milestone in Western art. In order to express the rich and ephemeral changes of light and color in nature, it ignores or negates the intrinsic nature of objective things, and even destroys or abandons the rigorous shapes that have been perfected in the West for thousands of years, so a series of subsequent rebellions have been derived Painter, school. The first thing to break with tradition is Cézanne. He wants to create an absolute painting, which is no longer an imitation of objective things, but is injected into the eternal form and solid structure of the artist’s subjective interpretation. At the same time, there is the painter Gauguin, who, from a strong subjective perspective, analyzes and synthesizes the impressions and feelings obtained by objective things to create a symbolic painting that breaks through the constraints of time and space. And the Dutch Van Gogh conveyed his fiery thoughts with bright tones and fluttering lines, and they jointly created a precedent for western Modern Painting Art. Many modern schools were derived from their theories.
Some of the painters who followed Cézanne confirmed that the management structure of the picture is the ability and rights of the painter. The painter is the creator of the picture and should arrange the picture arbitrarily like God, forming a cubism represented by Picasso. I believe that painting should not be a slave to natural objects, nor should it be just the elaborate structure of the picture. It must express the artist’s mood and will, and must be an external image of the artist’s internal emotions. This gave birth to French Fauvism and German Expressionism. . After reviewing this change in the painting world, the Russian Kandinsky realized that painting no longer relies on the support of objects, but that color, lines and shapes dominate the entire picture. It is the elements of these paintings that give the picture life and beauty. The first created abstract painting. The above-mentioned genres are all manifestations of exploration after thinking about art.
When the artists think about society and modern material civilization, they come to the conclusion that tradition is outdated, modern is incomplete and unhealthy, and Dadaists who have destroyed everything and overthrown everything have been created. They hope to build on the basis of pure blankness. A new civilization. When an artist faces life, human consciousness is unrealistically decorated with too many concepts. Only the subconscious realm is the most real realm. This realm has never been represented. The artist paid attention to this spiritual world and created Surrealistic painting, a painting that uses anti-logical common sense to present a little-known subconscious world.
After the Second World War, the Modern Painting Art center changed from Paris, France to New York, USA, and started a new exploration and creation, which is more characterized by focusing on changing concepts. In the 1950s, abstract expressionism emerged, and behavioral painting that focused only on the process of drawing and not focusing on the results of the Modern Painting Art reflected the vitality of Americans’ free creation. When people are dissatisfied with accidental venting and subjective intentions for painting, they instead advocate that the picture can fully realize its full potential, so large-color gamut painting, minimalist painting, hard-edition, etc. appear. Most of these arts arrange the pictures with calm and simple large color blocks without any emotional expression. In the 1960s, Pop Art entered the art world. First, it became popular in the United States. It penetrated art and modern civilization, made art a more popular means of communication, and was closely related to the survival of modern people. Since the 1970s, modern art has completely entered a diversified pattern. Artists have explored art and artistic expression on a broader level. Since then, there has been no style genre to find. It can be described as one school per person. Western art enters an endless world far from the world of common sense.
The painting “Water Lilies” is an oil painting created by the painter Claude Monet in 1916. Existing at the National Museum of Western Art, Tokyo, Japan.
In this “Water Lilies” series of oil paintings, Monet focuses on the endless appearance of the same subject under different light and air. Because the oil paint depicts not the object itself, but the process of the artist’s observation.
This late water lily work, the size of a mural, creates another decorative effect, and also has a natural mysticism atmosphere.
New coronavirus 2019 (2019-nCoV) was discovered in 2019 due to Wuhan Viral Pneumonia cases and was named by the World Health Organization on January 12, 2020. Coronaviruses are a large family of viruses that are known to cause colds and more serious diseases such as the Middle East Respiratory Syndrome (MERS) and Severe Acute Respiratory Syndrome (SARS). The new coronavirus is a new coronavirus strain that has never been found in humans before. Since December 2019, Wuhan City, Hubei Province has continued to carry out surveillance of influenza and related diseases, and found multiple cases of viral pneumonia, all of which were diagnosed with viral pneumonia / pulmonary infection.
Common signs of a person infected with a coronavirus include respiratory symptoms, fever, cough, shortness of breath, and dyspnea. In more severe cases, infection can cause pneumonia, severe acute respiratory syndrome, kidney failure, and even death. There is currently no specific treatment for diseases caused by the new coronavirus. However, many symptoms can be managed, so they need to be treated according to the clinical situation of the patient. In addition, assistive care for infected people can be very effective. Taking good care of yourself includes maintaining basic hand and respiratory hygiene, sticking to safe eating habits, and avoiding as much contact with anyone as possible showing symptoms of respiratory illnesses such as coughing and sneezing.
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With the rapid development of the modern economy, people’s living standards have gradually improved. Therefore, people are not only pursuing contentment at the material level, they are also beginning to continuously enrich the spiritual world. In modern cultural content, the art of oil painting has gradually become a cultural form that people are more and more fond of. The expression of colors can express the inner emotions of the painter so that the viewer and the creator can establish a certain relationship. Based on this, the article first introduces the connotation of color in emotional expression, then analyzes the emotional expression of color in modern Chinese oil painting art, and finally elaborates the influence of the emotional expression of color in oil painting art on the creator. It not only enriches the existing theoretical foundation but also further promotes the development of oil painting art.
Color has an important influence on the expression of the deep connotation of oil painting works. Color is equivalent to the interpreter in oil painting, and marries viewers to communicate emotionally. In the field of modern oil painting art, color plays a greater role. Modern oil painting pays more attention to the application of color and pays more attention to expressing the deeper meaning of oil painting through color. Different color choices have different expressions of emotions. The development of color diversity is an important way to promote the development of oil painting art.
We live in a colorful world, and explore the impact of color on our lives from the aspects of culture, national customs, and aesthetic consciousness. The art of oil painting originates from life. The coordination and use of color is an important factor in oil painting works. In modern western oil painting art, color is the main means of expression. The emotional power generated by color can directly build up between the artist and the audience’s mind A bridge for interactive communication. This article analyzes the artistic characteristics and emotional expression connotations of modern and western oil painting colors from the perspective of the emotional expression of modern and western oil painting colors, with a view to promoting the diversified development of oil painting colors.
Black and White Oil painting 《院儿》 We have many ways to enter the old Beijing hutong and walk into the courtyard. Most of the time, we follow the light and shadow of black and white photos. When the old houses appear in the camera, the mottled remains the same. This time is different.
We walked into the 《院儿》 with the brushstrokes of black and white oil paintings, and entered the memory of childhood. Needless to say, the oil painting is foreign-style, and it is matched with Xiaoyanglou and Western Restaurant; and if the Hutong Courtyard is not rustic, it is at least a folk custom, and it is very compatible with the biscuit and the bean juice. Therefore, using Western painting to express the ancient capital residence, it is wearing a suit pull Huqin, it is likely to see how it does not match. It is an adventure for the painter Tian Yingren to walk in the hutong with a picture box. It can also be said to be an offense. She uses the seemingly incompatible Western art form to express the scene of oriental life. What will be the result? If it is not categorical, it may be very embarrassing. You know, her oil paint is not the Burgundian palace and wine cellar, not the arch bridge and gondola of Venice, not the pier and tower of Rotterdam, and not the snow and the Yosem of Mont Blanc. Mitty’s moon…but the brick-and-mortar courtyard that she has never lived in but the old and noisy hutong courtyard, although she has traveled numerous times, it is just a passer-by. In fact, it is true for anyone and things. Familiarity and unfamiliarity are not complete, but they are counted. When the old Beijingers are familiar with them, and they can touch the door of the 《院儿》 with their eyes closed, our inner touch is no less than a long-lost haircut. I really want to hit him and punch him. Or hug him tightly. First of all, we like this black and white color too much, not a kind of elegant atmosphere, quiet and comfortable feelings, highlighting the simplicity and subtleness of the Hutong courtyard. The painter boldly used the subtraction method in the composition, and removed all the debris that was commonplace in the hospital, leaving only one courtyard door to occupy a conspicuous position. There is no single character in the whole picture, but it seems that there is a living life in it. Not only the temperature of life can be felt, but also the secret story is hidden. – A seemingly inadvertently decorated women’s bicycle, reclining on the courtyard wall next to the door, like a vigorous old wood, blooming a delicate flower. Obviously, the hostess of the bicycle is making a short stay, otherwise she will put the bicycle in the yard. So who is the person she visited? How come she has a special trip here? What kind of impression will she leave for the small courtyard children? Although we are talking about black and white oil paintings, we can use black and white chess as a metaphor. It can be said that: a good game, full of life. This bicycle, which is quietly curled up in the lower right corner of the picture, is like a pen of God. It does not have a word, and it makes the whole painting vivid and vivid. So we can’t imagine what would happen if there was no such bicycle in the picture. Art, often seeing the spirit in subtleties. I remember that when the world singer Pavarotti of the Apennine peninsula sang on the stage, he always did not forget to wear his little ornaments as props. He always tied a white towel on his wrist and waved it from time to time to let him I am very chic and natural in the eyes of the audience who support him.
The Tian painter, who had been arguing in Italy and holding a painting exhibition, witnessed the style of the song king and borrowed the atmosphere of “small eyes”. The oil painting 《断“臂”之痛》 is a rare thing to see a picture. What’s more, this is a superposition of two kinds of pain, which is a mixture of psychological and physical pain.
This black and white oil painting is called 《断“臂”之痛》, obviously this quoted “arm” is the “wall” homonym, it refers to the wall, is too much we see and The walls of the ancient alley courtyard that disappeared. Although the protagonist in the picture is a building, the ridges, beams, and bricks will shed tears. Because of their long history, their bodies have already been soaked in the life of their homes. The social turmoil of the world is not strange, but everyday life. The joys, sorrows and sorrows will not be unfamiliar. The old house gives us the feeling that it is a “living thing” with life temperature and memory. I don’t know why, I like this painting. It made me realize that the ancient buildings of the city where humans have lived can also be regarded as flesh-and-blood bodies. Our responsibility and obligation is to protect them as much as possible, and take care of them. Iron weapon damage, and even fracture or bleeding. I was thrilled to see these broken walls and prove that our soul has not yet been numb to our home. Our pain is just proof that we are still awake. The ancient city is surrounded by its old residential buildings, which are blood vessels, nerves and cells. Walking in the deep and quiet hutong is a specific field in which we meet with history and dialogue with historical figures. If the hutongs that have been in the world for at least five or six hundred years are not in existence and there are countless legendary stories in the courtyard houses, why do we care for the nostalgic feelings of a historical and cultural city like Beijing?
This is a requiem that is specially sung for the residential buildings that the city is gone for. It is a singer of blood and blood that is written with lines and color blocks of black and white oil painting. The sad reminder, sad and helpless and sorrowful sigh though Silent and uninteresting, it can’t change the reality, but it has already blown our hearts. Just like a strong electric shock, the mood can’t be calm for a long time. I even wondered who was unreasonably pushing the old historic buildings of the city onto the operating table. The lame surgeons who had no medical knowledge and literacy were waving scalpels. For them, cut off the ridge of a house (also known as the “big ridge”, that is, the intersection of the two slopes at the top of the house) together with the beasts (building decorative objects, swallowing the ridges) and the beasts Kissing the beast is the same as the ornament, looking out the way), just as easy as going up the mountain to cut wood, just like the potato in the vegetable field. The ancient capital is the body of its ancient architecture, but it is clear that not everyone has a sense of skin and brotherhood. If we say that ancient urban buildings used to bleed or are bleeding, then Lu Xun’s words would come in handy. He said: “The real warrior, dare to face the bleak life, dare to face the dripping blood…” Perhaps Lu Xun, who likes to recommend woodcut prints to readers, is alive, he will love the painting of Tian Painter. The subject matter and style of this painting are bold and direct, sharp and sharp, and how close to Lu Xun’s character and thinking.
The Tian painter really loves Lu Xun. She has no feelings for most modern Chinese writers, but she is very interested in Lu Xun, who has always been stabbed, ridiculous, unrequited, and naked. She also appreciates his character. , the rhetoric of words and speech. She said: “In any case, there is a Lu Xun is really good! Unfortunately, only one of them, if there are a few more Lu Xun, then it is better!” It is also interesting to say. The gentle-tempered Tian painter’s body and his works actually have some “hard bones” Lu Xun’s shadow. The two don’t really take it. Who said that a painting cannot be as sharp and weighty as an essay; who said that a weak woman cannot have the heart and feelings of a great husband; who said that the oil painting 《断“臂”之痛》 can not be the backyard of Lu Xun’s former residence. Jujube tree with thorns.
The Black and White Oil painting 《冻坏的家》 is space art, literature, and time art. When space art has the characteristics of time art, the immortal cause is done. In front of this, the black and white oil painting created by Tian Yingren – 《冻坏的家》 is a typical example.
It declares the organic combination of image art and text art, except that the image is tangible and the text is silent. Those who need to read the picture to carefully draw and carefully try to figure out and play. There is no outstanding painting in the history of art, and there is no intriguing literary color. If we change the name of the painting “Frozen Home” slightly, such as a “frozen house”, then it seems to be well understood. You see, the walls erected on the left and right sides of the picture, the broken look, can also be called the wall, clearly two piles of loosely stacked bricks, but also some inconspicuous corrosion, broken bricks. In the distance, there is a slightly decent courtyard door, but there are still broken traces around. The hutong was shrouded in cold snow, as if the snow had not been finished yet. However, the paintings of the Tian painter are not called “frozen houses” but “frozen homes”. – This name is stressful! The house that is frozen is probably home, maybe not home, and the home that is frozen is definitely in the house. When it comes to home, people will have a warm feeling, and the frozen snow is a threat to the home, but also a kind of destruction of the warmth of the home. – In this case, the profound implication of this painting lies in the hidden dangers of threat and destruction, and it is still an inevitable reality or result. The hutongs of the ancient capital Beijing are disappearing. The original thousands of hutongs have been demolished, and the exact number of survivors is difficult to count. From this painting, we not only see the broken and decaying, but also see a kind of broken beauty and farewell. Just as we are awe-inspiring in front of the statue of the Mexican modernist sculptor Francisco Zuniga, the old grandmother, we also have a sacred and solemn sense of awe in the ancient hutongs and alleys, and we will taste the hardships of ordinary people. The taste of taste… Obviously, the feeling of freezing is the body of the body, and it is more of a soul. The pain of the soul is the real pain, deep and long-lasting, and has divergence and conductivity, even the universal feelings and values are also contained. All spiritual people will have this pain, and all who have pain will have spirituality. A painting is not only in the form of minerals through pigments, but also in the realm of the mind through emotions and thoughts. People who appreciate art are also promoted from being creatures that are easily materialized to life with souls. Such a black and white oil painting is unfolding in front of us, just like a witness to the coexistence and common prosperity of physical life and spiritual life. The world can be miniatureed into a section or silhouette of an alley, and the memory of all our lives can be stimulated and awakened in an instant. It is not only the memory of individual life, but also the memory of the whole city… I have been asking myself, I like this picture, why is it impressed by it, is it that these houses are not comfortable? Still not a complete alley for this article? The artist’s extraordinary feelings bring us super stimulating, numb people simply don’t look at the painting, or can only see the painting… There are always some seemingly random strokes that touch our nerves, if we are sensitive enough or enough nerves. Especially those who take the city as their home, they will be more tempted by the 《冻坏的家》.
The Black and White Oil painting《胡同口》 looks very ordinary people but looks good, which is common in life. And although some faces are very beautiful, they are a bit unbearable. Just like the scenery in Tian Yingren’s black and white oil painting 《胡同口》, the old house lined up in the remnant snow, a bare bare tree, how to look at how inconspicuous, indeed looks plain, and can’t even attract you too much interest.
Impulsive, but as long as you watch it over and over again, it will be slowly moved, chewed and then tasted. correct. This is not an amazing oil painting, just as there are always amazing faces in the world. Is it true that we appeal to our visual organs and visually appreciate paintings, and do we have the inner beauty that describes people as being invisible? Of course, this is the same as a person. There is a culture of intoxication and infiltration in it. There is also a style of inner beauty and elegant meaning. The so-called “inner beauty” is also. The term “inner America” is derived from Qu Yuan’s “Li Sao”: “There are both inside and outside, and they are important to repair.” Since we don’t win the brilliance of the outside, we must make the work intriguing. In the picture, the roof of the house, the door, the window, the steps… give the image of the Sui and Tang Dynasties, not only the dryness, but also the margins. However, from the perspective of the overall organic composition of the picture, there is quite a charm and symbolic meaning. Su Shi’s two poems – “roughly wrapped in a big cloth, full of poetry and self-satisfaction”, used to describe this painting is very suitable. Here, the ordinary scenes must be made unusual. Simple pictures require us to fill in with rich emotions and thoughts. Wu Guanzhong, the master of painting, said that “the pen and ink are equal to zero”, but the saying is “there is nothing to say”. For the author, it can be said that “Kung Fu is outside the poem”; and for the painter, it is “Kung Fu is outside the frame.” A picture without thought is just a picture; with thought in it, the picture has life. The reason why art is noble and immortal is because there is life and there is a soul. This black and white oil painting “Hutongkou” is a simple poem. We think of our own lush years, often agreed to gather in the Hutong mouth. The sky is still bright, a large group of teenage middle school students riding bicycles, starting from the Hutong mouth, heading for the Xiangshan in the western suburbs… The young boys and girls who started in the sinus often start their first date in the same life. It is an anxious wait and hope that makes people feel at ease, and they confuse each other and repeatedly explain: “Let’s say hello, at the mouth of the alley, under the tree at the mouth of Hutong, I will see you!” I thought that the primary school had stipulated that the hutong children would line up and go to school. The class teacher stood in the Hutong mouth every day to monitor and look at the Hutong mouth. For the children who grew up in Hutong, there are too many stories for the residents of the courtyard, too much too much. Memory. The Hutong mouth is in the Hutong people, just like the village entrance to the villagers. It is a sad place for far-off people who have left their homes and farewell to their family members. Of course, it is also the joy to welcome the returnees of thousands of miles. The complex feelings and feelings expressed by the Tang Dynasty poet Song Zhiwen, “The hometown is more awkward, dare not ask people”, are the same for the city and the country. If the Hutong mouth is a port, then the courtyard in the hutong is the harbor, and the trip is a boat that travels between the heavens and the earth. Nowadays, in ancient Beijing, where are there so many well-knit, eye-catching alleys and alleys? ! Therefore, we can not blame the scene in this painting 《胡同口》 is too shabby, but in the chill of the residual snow, there is a warm and harmonious friendship.
The Black and White oil painting 《今日胡同》 Beijing’s Hutong is a historical and cultural carrier. It was once neat and quiet, but it was not wide but had plenty of room for activity. However, today it is a bit overwhelmed, forced and squeezed by ruthless external forces, and even somewhat distorted and deformed. The painter Tian Yingren’s black and white oil painting 《今日胡同》 vividly and vividly describes the cramps and embarrassment of this alley. Hutong, becoming fashionable so quickly, is what we didn’t think of.
The memories of childhood disappeared with the disappearance and reconstruction of buildings. So what is the memory of this ancient city? We really don’t want to think more. Between the hutongs and the hutongs, wherever we go, what we see is like a deja vu, and it seems strange, and it has never been seen before. In the painting, the small shop in the Hutong mouth, the curtains are not earthy, not in the west. The broken tiles on the roof are old objects, and the floor-to-ceiling windows and sliding doors are new things. Two sly bicycles and four sly cars, one left and one right, clearly stood up against each other. Going deep into the hutong, the figure of the mini sedan is faintly visible. Only scattered trees are still the original ecological landscape. You see, is this the corner of the hutong? That’s right. This is a glimpse of the alley we live in today. However, I would like to say that this alley gives us a little funny impression. You have to say that it is not a hutong, you have wronged it; you have to say that it is an alley, and you have to turn yourself. It gives me the feeling of being incomprehensible, just like the Chinese people wearing the Western hats in the Qing Dynasty. Who is it, let our hutong become this one.