作业代写：Western painting

下面为大家整理一篇优秀的essay代写范文- Western painting，供大家参考学习，这篇论文讨论了西方的绘画色彩。在古代，色彩现象就已被人类觉察到，只是因为它们太稍纵即逝而难以捕捉。因此，色彩是一种不被感知，被解释的隐秘对象。在西方，希腊的绘画传统在文艺复兴得到了延续和发展，这决定了整个文艺复兴的再现性绘画传统，其色彩的实质是一种明度色彩表现。后来，绘画成为了一种视觉音乐，色彩也凸显出它自身的音乐性精神。

In ancient times, color phenomena have been detected by human beings, only because they are too fleeting to capture, color was exiled to the country of ghosts. Therefore, color is a hidden object that is not perceived, but explained. Most of the original cave murals depict animal images with the red and brown color of life, and are used as the objects of their enchantment rituals. Color has the cursive function of materiality. The ancient egyptians believed in the immortality of the soul, making painting a picture of life in the afterlife. Schematic nature, flat color interpretation of the soul immortal integrity and completeness. In the middle ages, the symbol of color was dedicated to the omnipotent god as the medium of communication between man and god. In the Christian Canon, the bible, there is an ideal kingdom of color. Mosaic, iconography, color glass paintings have been widely used in church painting decoration, Christian color heaven in the world, creating an experiential sacred situation. Here, color is sanctified as a symbolic language. Color emphasizes the function of reality, not in the real credibility of imitation, but in the descriptive function of character, care about the completeness and validity of description. Color expression is the symbol of visible sex color to invisible color world, it cut off the person and visible world vivid color perception.

The study of color phenomenon by ancient Greek thinkers made the relationship between people and color return to the visible world. Aristotle's theory of color, in particular, has been influential for centuries. The color theory of Alberti and Da Vinci was based on Aristotle's understanding of color. They all attribute real colors to the four elements of nature: earth, air, water and fire, all of which are derived from the four primary colors by black or white. The form becomes the source of the illusion of vision. Color is completely subject to the form and tends to be monochrome. The Greek painting tradition was continued and developed in the Renaissance, which decided the entire Renaissance of reproducible painting tradition, its color essence is a kind of bright color expression. Early Renaissance painters emphasized from the beginning that sketch is as important as color, which left them with an open question: how to coordinate the relationship between sketch and color? Perspective law and light and dark law to reflect the accuracy of modeling, and color performance will obviously destroy the three-dimensional sense of the form. The mission of reproduction inevitably leads to the contradiction between sketch and color expression. Giotto's beginning in the history of painting, its important significance is embodied in his creative ideas on coordinating the contradiction between sketch and color. Alberti further improved the rules of perspective and light and shade, but still did not want to lose "good color". His research on color configuration highlights the visual beauty of color in composition layout. Tiziano's "tonal method" not only inherits the colorful combination and configuration emphasized by alberti, but also retains the relief of light and dark shapes. Da Vinci, on the other hand, loved shadows, ignored colors and completely melted into the absolute system of light and dark colors. Therefore, Da Vinci's "half-tune" and titian's "tonal method" have formed two different tonal systems in coordinating the relationship between sketch and color. This is the first time in history that there has been a conflict between sketch and color. In fact, their arguments go well beyond the priority of 3d reproduction. Color is essentially sketched, just to increase the similarity of imitation. In the discussion organized by the royal painters and sculptors in the cartesian period about the works of titian or Poussin, we can still find the affirmation of the supremacy of sketch: "sketch imitates all reality, while color only shows the occasional. Because everybody thinks color is a kind of even sex only... And still can add, color is attached to belong to sketch, because color besides show or draw the layout that gives sketch, cannot show or draw anything." We will not forget that the human instinct to read pictures begins with the outline, and the early form of cave paintings is the unpainted outline. In other words, our daily perception is not accustomed to seeing objects through colors. To recognize colors, we must have unique attention and analytical will.

The purpose of the sketch is to reproduce more and more accurately. When the painter discovered the richness of natural external light, the precise expression of the sketch turned to the pursuit of natural truth. The two reproducible traditions established by Da Vinci and titian have been questioned. Ruskin sees both tones as deceptive imitations of nature. He saw masters of the system like Da Vinci, who dealt with the distance between color and light and darkness in the picture, which did not accord with the real sense of space and light of nature, and the absolute relationship between light and darkness lost the expression of color. On the other hand, ruskin also resists the rich colors depicted by the exaggerated color of titian, which only imitates the true colors of nature to a minimum, and it also sacrifices the authenticity of nature. Visual perception of natural external light guides the painter to pursue the true reproduction of natural light, and color changes from ideal light to natural light. It is obvious that we can see the fading of the brown tone in the images of Constable, Corot and other exterior painters. But color still depends on the natural luminosity, does not change its lightness performance nature. Color to obtain its liberation, must have its own laws to translate light. As early as the Renaissance, Da Vinci had discovered shadows and reflective colors. However, the color contrast effect produced by the action of light has not been applied in painting, and the painter has not found an effective way to solve the harmony between color and light. Only when Delacroix decomposes the bright, middle and reflective colors from the colored objects under the light, can the purity contrast of color replace the brightness contrast and achieve the unity with the light and dark shapes. In addition, Chevreul's works on color theory, "rules of harmony and contrast of colors", elaborated the rules of interaction of colors in vision, and summarized the coordination rules of perfect use of colors. It is on this basis that the painter discovered the value of color purity expression and directly expressed the phenomenon of light color with the contrast and harmonious tone of color itself. At this point, color from the sketch of the law of liberation.

We see that when color can be color, it no longer has to consider the tone of sketch, it can be argument, line, surface, and stroke. But the color screen of these strokes juxtaposed and piled up points to accurately reproduce the color effect of light and color. Its essence is reproducibility, and color has not realized its independence. The color liberation of impressionism has not deviated from the imitation of the visible world of painting since the Renaissance. In traditional painting, colors represent ideal light, while the external light school reflects natural light, while the impressionist painter gives colors to the ever-changing sunlight. This kind of dazzle light that braid up by color, it is the accidental moment of sensibility only, make the painting lost that classical type permanent sex structure. In order to find the classical architecture, Seurat, with the help of scientific light color theory, USES the techniques of color separation, color light and point description to push the light and color expression of impressionism to the extreme in the balance of feeling and theory. On the contrary, Gauguin and van Gogh believed that reproducing colors had no vitality and should arouse the spiritual power of colors in the sense. Van gogh's obsession with Japanese painting art has seen the expressiveness of this simplified schematic color, making nature exaggerated into the color form of his inner intention. Gauguin pays more attention to the thematic metaphor of color. With the help of color symbols of primitive art, he took color as a language to form a meaningful solid color plane form. In this way, color from description to expression, it can declare the freedom of the spirit itself. Matisse further strengthens the color expression of van gogh as an internal need, and the pure color plane decoration gives the color form an absolute value. Color "as a kind of definite need" and "own special feeling to the space", become the equivalent of the emotional reference that is completely independent from nature, the expressive value of color obtains great affirmation, the modelling drops next. The color plane equivalence system constructed by the pure expression of color originates from the certainty meaning of subjective intention to natural objects. Cezanne, on the other hand, is completely different. He has realized the independence of color in solving the problem of impressionism. If, in traditional painting, light is the zero degree of color; Cezanne, then, is turning color into the zero degree of light, no longer the kind of light that seems to come from the outside, projected onto the subject of reproduction, here and there. That is, through the color itself, light everywhere; Color is truly independent of the projection of light. Cezanne's way of seeing is to start from the nature completely, all uncertainties, fleeting color phenomenon through the intellectual organization of visual intuition, found the transformation logic of color itself and the natural world, that is, the perceptual structure of color replaced the natural order. Color is no longer subject to or dependent on anything, it is effective in itself, and no longer has to be compared with the world of imitation. The independence of color, won its self-discipline, but also led to color performance freedom of the crisis. Brutalist emphasizes the metaphorical representation of the plane form of color, which is corrected by cubism. They oppose the "realism" of this kind of color form and pursue the pure value of modeling. In the construction of Cezanne's paintings, cubism saw the value of form and color in composition and deconstruction. In order to redetermine the depth of the modeling, they transferred the form composition of Cezanne and deconstructed the form and color from individual and special object and image forms into abstract and universal formal symbols.

Both of these systems lead the pure expression of color and form to the objectified expression of the subject's intention, and bring color and form back into an inexhaustible contradiction. Finally, I completely left the natural world and turned to the invisible world of the universe. Painting becomes a kind of visual music, its whole theme is the rhythm and melody of colors and shapes. On this basis, color highlights its own musical spirit. Kandinsky pairs color with music, and sends out "sound" alone in search of an absolute spiritual existence. The visual sense of the general theology makes the infinite possibility of color combination directly correspond to the spirit of pure music, pointing to an invisible eternal manifestation of endless life. Abstract art has realized the transcendence of color itself, but it has brought a crisis to color expression and even the end of the whole pure painting. This kind of pure color expression, which is completely separated from the natural image, can only lead to the boundless universe and inner echo. It left the limitation of existence and the experience of presence, and went to the endless decorative nature. The free expression of color became the free conversion and game of color.

"The return to color has the effect of bringing things closer to the heart." However, the modern painting color is free from color and body on the way back to the body, and is constantly transformed and attached to the body with a strong sense of self. In the complex and various evolution, color expression appears two kinds of extreme tendency: one is, regard color as the appearance, because of its changeful instability, let a person be unpredictable, hard to control and negate it. Second, blindly strengthening and determining the expressive value of color, but resulting in endless expansion and generalization of self-desire. Finally, the color is completely flattened, and the color is just the decoration of free transformation. Both directions separate color from the visible world. Many Greek words for color are not words for color alone, but have an uncertain meaning. Gladstone's research found that: "in Homer's epic, more than 20 words are generally translated into color words, most of them are not color words at all, and those that are called color words can be understood to describe things primarily in terms of brightness rather than color."

Greek Chloros has two semantic meanings: one is green, the other is fresh, immature or moist, full of SAP. The typical use of the word is to describe the tender green leaves, because in Greek eyes, the use of color words depends on their properties rather than their meanings. Therefore, brightness and luster are more important than color, not the poverty of color words and the uncertainty of their semantic definition. Color does not exist as the appearance of things in its original sense. It forms the branch of existence with shape, texture, line and motion. There is no solution to true opposites and pure separation of colors. "Color is where our nerves meet everything in the universe," says Paul Klee in his language as the creator of the living things. Therefore, the color experience of vision includes the restoration of all absence. The visible color world itself hides the invisible stealth. It reduces the presence to some kind of absence and realizes the transcendental experience of color.

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