Theory and Practice of Painting Materials and Techniques

被引:0
作者
Yin, Ying [1 ]
机构
[1] Jiujiang Univ, Art Inst, Jiujiang, Jiangxi, Peoples R China
来源
INTERNATIONAL SYMPOSIUM ON ENGINEERING TECHNOLOGY, EDUCATION AND MANAGEMENT (ISETEM 2014) | 2014年
关键词
Theory; practice; painting materials; techniques;
D O I
暂无
中图分类号
C [社会科学总论];
学科分类号
03 ; 0303 ;
摘要
Historical conditions lay painting early development tendency of classical realist painting. During European Renaissance of the 15th century, the humanist thought out criticism of religion; it has actively sought attention to social reality. Many famous painters gradually get rid of a single Christian classic theme of creation, the beginning of the life of the characters was landscape, observe and direct depict items that contain religious themes works with stark reality secular factors, some painters fully depict real reality. Renaissance painters inherited the Greek and Roman art, the idea that work should not only focus on describing an event or fact, but also reveal the causes and consequences of events or facts, so they pay attention to the idea of forming a typical image of the typical shape of the plot and artistic. At the same time, artists were also exploring anatomy, using perspective in painting school, the screen brightness distribution role, and forming the shape of scientific principles. They make use of human anatomy drawing the characters as real-like shape with the exact proportion, shape, structure relationship. They establish focal depth of perspective to make the illusion of space by painting the formation of the composition, the moment the painting scenery and reality orientation have same visual experience; chiaroscuro paintings of images are so unified under one of the main sources of light emitted from near and far to form a clear hierarchy. Humanism art themes and ideas are in pursuit of realistic modeling, in other kinds of painting it is not perfect because of the restriction tools and materials, and painting tools and materials properties are adapted to both fully reflect. Thus, the classical paintings become produced by the long-term, highly realistic look.
引用
收藏
页码:105 / 109
页数:5
相关论文
共 5 条
  • [1] Jiang Hongxia, 2012, ART EDUCATION RESEAR, V17, P22
  • [2] Min Xu, 2006, YANGTZE UNIVERSITY S, V05, P107
  • [3] Wang Xiangsheng, 2014, BIG STAGE, V04, P209
  • [4] Wu Donggong, 2001, HUAQIAO UNIVERSITY H, V02, P108
  • [5] Xun Panshi, 2000, ART RESEARCH, V04, p[42, 80]