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Assumption in western realistic painting

2018-09-30 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- Assumption in western realistic painting,供大家参考学习,这篇论文讨论了西方写实绘画中的假定性。假定性是艺术的普遍特征。绘画除具有一切艺术假定性的共有特征外,还具有不同于其他艺术的特有的应用方式。西方写实性绘画的假定性就是画家通过一系列约定俗成的手段,在平面上创造出具有真实感的形象。西方写实绘画所表现出的逼真的空间、强烈的光线效果、真实的色彩感觉都离不开假定性规律的正确运用。

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Assumption is a universal feature of art. In addition to the common features of all artistic supposition, painting also has a unique way of application different from other arts. The assumption of western realistic painting is that artists create realistic images on the plane through a series of conventional means. This reality is just an illusion, an illusion created by the illusion of the human eye. The real volume, lifelike space, strong lighting effect and real color feeling of western realistic painting cannot be separated from the correct application of the artificial rule. It is these stereotyped visual experiences that help painters of all ages to push realistic paintings to gradually become brilliant.

Assumption is a traditional proposition in art. The rule of assumption is an important part of art and a universal feature of art. As an important art category in the west, realistic painting also follows the rule of assumption.

Although the concept of hypothesis is very important, there have been various understandings about it. In the encyclopedia of China, the expression of "assumption" is: "aesthetics and art theoretical terms. The artistic image is by no means a mechanical reproduction of the natural form, and art does not require its works to be regarded as reality. Our theater theorist tan peisheng summarizes the hypothetical as: "by means of a series of prescriptive things, the audience creates the illusion of reality. The so-called 'conventionality' refers to 'presumption'. It is the nature of all art." According to du qingchun of Shanghai film academy, "presupposition is that the author and the recipient can have an attitude of believing the works of art to be true due to their common physiological and psychological foundation, that is, to provide a kind of thing that enables people to directly grasp the non-specific perceptual existence in reality."

The above are the film, drama and other aspects of the hypothetical views, painting is not often written. Since the rule of assumption is the essence of art, painting, as an important category of art, is also inseparable from the rule of assumption of art.

The assumption of western realistic painting is that artists create realistic images on the plane through a series of conventional means. This reality is really only an illusion, the illusion created by the human eye. As Goethe said: "the supreme task of every art is to create a truer illusion through illusion." No matter how "real" the artistic image in the painting is not the object itself, it is just a reproduction of the objective real image by the painter. The following is a brief discussion of the hypothetical laws in western realistic painting through the aspects of volume, space, light and color.

In the west, western art has entered the Renaissance since the 15th century due to the promotion of humanism. In this period, people began to advocate science and democracy, and then advocated the truth. The painting also developed from the planarity of medieval Christian painting to the real subject space. The pursuit of mirror-like reflection of what the human eye sees has become the common ideal of artists and audiences. In order to achieve this goal, artists began to carefully observe and study objective things in order to depict them realistically. With the help of scientific results, and personally engaged in anatomical, transmission and other scientific research. The most representative Italian "three masters" are all masters of art with extensive knowledge. Such as, amounting to ? in order to show the lingering sense of reality, has done a lot of relevant proportion, perspective, structure, light and shade, color, light and shadow. The more profound these studies are, the more they can correctly express the three-dimensional sense of the image, and the more they can make the image close to what the eye can see, which can also arouse the audience's resonance. The audience can feel the spatial form of the image, as real as the objects they see in reality, as if the Mona Lisa was actually sitting in front of the beautiful scenery and smiling to themselves, as if the gods in the Sistine chapel were really on top of their heads And these are just illusions, created by the artist using the common understanding of the human body. Although the audience did not specifically study the human body and other images as the painter did, because of visual experience and common sense, they have a judgment on whether the image painted by the painter is lifelike, which is a tacit understanding and feeling reached by the creator and the recipient, and the tacit understanding is mediated by the artistic image. The painter USES various means to create the image that is "real" to the audience, but this "real" is hypothetical, because it is not really the objective image itself, but its image. The volumetric sense of the image is nothing but the illusion created by the painter on the two-dimensional plane by using human visual illusion. The volume of the real image is three-dimensional, while the volume of the image is two-dimensional, which is hypothetical.

Advances in applied geometry led to the invention of scientific perspective. When one raises his eyes and looks into the distance, the distant mountains are smaller than the nearby ones, and the distant trees are not as big as the nearby ones. Artists quickly learned this wonderful method and used it to easily create three-dimensional space with a sense of reality on the plane. When we watched works such as leonardo Da Vinci's last supper and Raphael's the school of Athens, the real space of the buildings conveyed by the picture made people feel as if they were immersed in it.

Near and far are nothing but an illusion of the human eye. The two rails are always parallel, and they seem to intersect at a distance because of their distance. The picture of the correct application of scientific perspective creates a seemingly "real" three-dimensional space, but the canvas carrying it is completely flat. The space of the picture is not the same thing as the real space it reflects. The space distance formed by the front and back occlusion of images in the picture seems to us to be a real existence, but as long as we touch the picture with our hands, we will know that the distance between them is only an illusion of human eyes. "Near real and far virtual" is also an effective way for artists to express space, which is a summary of visual experience after fully observing nature. Distant objects are not nearly as strong in all respects as nearby objects, a visual experience that all normal people have. The artist creates a three-dimensional space that looks very lifelike on a two-dimensional plane by using the conventions of near far and far small, near real and far virtual. No matter how similar the three-dimensional space is to the real space, it is only human visual illusion, not the real space itself. It is an important factor for the realistic painting art to become brilliant.

The exploration and pursuit of light sense is an important tradition of western realistic painting since the Renaissance. From masaccio through the Venetian school, to Rembrandt, to impressionists, western realistic painting has always been accompanied by the expression of light. Masaccio used dark backgrounds to shine light onto the main parts of the main image, a representation that was consistent with the visual experience of people at the time. There must be a lot of reasons for him to adopt such method, but there is a possibility. In that era, people's material life was poor and the lighting equipment was simple. Only candles would not light many lamps even in affluent families. People's visual experience is that the main character is always illuminated by the light, while the light of others is very weak or in shadow, and the background environment is mostly dark and weak. The picture depicted in this way is in line with people's visual experience and an inevitable choice for the painter after carefully observing life. Once this kind of technique is popularized, it becomes a kind of convention. Audience's aesthetics also formed a habit, so that impressionism extended the performance theme to nature, the picture became bright and people were very reluctant to accept it. Assumption is a stereotype. If you accept it, you will appreciate it. If you don't accept it, you won't appreciate it. Impressionism artists' expression of the effect of instant light changed people's appreciation habit. People were surprised to find that the real world was as bright and brilliant as the impressionist painters. As a result, a new kind of "conventionality" is generated in the audience's aesthetics, and people can understand and appreciate the impressionistic painting in the light and color flutter represented by the new method. It's another tacit understanding between the creator and the receiver. Impressionist artists capture and condense the objective real light they see into the picture, creating a rather realistic lighting effect. However, this kind of verisimilitude is only a reproduction of the objective reality rather than the objective object itself. The painter makes use of the common physiological and psychological basis between himself and the audience, and makes the audience feel the authenticity of the light in the work, and the assumption of art again plays a role.

The Florentine painters of the Renaissance paid attention to sketching and used color as decoration. In contrast, Venetian painters paid more attention to the role of color in painting. Even more successful was titian, "a painter whose mastery of colour art rivaled Michelangelo's mastery of sketching", and his contemporary correggio, a master of light and colour. They can use color and light to balance shapes and direct the eye's direction. Through the development of generations of painters, impressionism realism color reached the peak. The pursuit of "truth", including color, has always been the ideal of painters. What courbet's realistic paintings want is not to look good but to be real, and the colors they set are as simple and natural as what we see in life. Miller's work has the same quest. Impressionist artists are more accurate painting their own feeling of color for art ideal. "At first, the public put their faces up to the picture when they visited the impressionist exhibition, but it turned out to be nothing but a careless mess of brushwork. So they thought these artists must be crazy. It was some time before I knew that to appreciate an impressionist painting one must take a few steps back to appreciate the miracle of the mysterious color blocks suddenly springing into being in front of people. The real goal of impressionists is to create this miracle and convey to the audience what the painter actually sees. Impressionism eventually conquers the audience and forms a new convention. The public and the painter's eyes converge.

Titian color, delacroix color, courbet color.. The impressionism color is true in the people of their time, and has its internal and external reasons which are recognized by the audience. But no matter how truly reflects nature, it is not the nature itself that it reflects, but a realistic imitation of nature by the painter. This means that, the picture image, no matter how realistic, is the painter using conventional methods use all kinds of factors into the illusion of, is not the object itself, and this kind of illusion can be accepted by the audience, think the painter painted color is real, the painter is a kind of success, the audience can get the aesthetic psychological satisfaction.

The application of hypothesis in realistic painting is briefly analyzed from several aspects above. In fact, the painting is full of supposition, because painting is not the object itself reflected, and supposition is an important part of any art, painting is no exception.

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