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Formal language in the art of painting

2019-11-13 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- Formal language in the art of painting,供大家参考学习,这篇论文讨论了绘画艺术中的形式语言。形式语言以其独特的视觉魅力在绘画艺术的发展中起着至关重要的作用。从古典主义到印象,再到现代主义,直至后现代主义以及当代绘画,一切都体现了形式的魅力。虽然不知道艺术家在创作过程中的真实意图,但以符号的形式记录下来的绘画作品都具有人类情感、传递意图和主观的形式结构。就像音乐一样,它有自己的节奏与旋律,从而抒发情感。

Formal language,绘画艺术形式语言,essay代写,作业代写,代写

Formal language is a very important research field in the process of creation and practice of the major of painting. It is an organizational structure that presents the essential characteristics of art and an external expression that integrates the ideas and concepts of art works.

Picasso, the great master of modern painting, once expressed the form of painting as follows: "the most important thing is the form, and once the form is created, it will not disappear, and it can survive as an independent life. Form, only form can make art more meaningful.

Formal language plays an important role in the development of painting art with its unique visual charm. From classicism to impression, to modernism, to postmodernism and contemporary painting, everything reflects the charm of form. Although we do not know the real intention of the artist in the creation process, the paintings recorded in the form of symbols all have human emotions, conveying intentions and subjective formal structure. Like music, it has its own rhythm and melody to express emotions. In different historical periods of the development of human society, with the change of social value orientation, there are unpredictable possibilities in the expression of technology and language forms. The only way to understand art is to understand and master this system. As an artist, due to his professional characteristics, he must have the ability of form vision, form thinking, form composition and so on. To see the world, to discover all things, to see the ordinary people can not see things, through observation, thinking, imagination, creation, the formation of a new concept of form and personal proposition, with the help of sketch and color means, create a strong concept of form, the sense of form of painting.

Matisse's view of form: "the whole arrangement of my picture is expressive. The position that character or object image occupies, the blank all round them, scale, have effect. The so-called composition is the art of arranging the various factors that the painter wants to use to express his emotion with the technique of rich decorative significance. ... What I dream of is an art of balance, purity, serenity, without disturbing or depressing subject matter." Picasso said: "painting has its own value, not in the actual description of things. I ask myself that a man cannot draw only what he sees, but must first draw what he knows." The decomposition and reconstruction of cubism developed the idea of form. In the process of artistic practice, the abstract painter mondrian summed up his view of form: "I eliminated curves step by step until my work consisted only of straight lines and horizontal lines, forming a cross, each separated from the other. A straight line and a horizontal line are the expression of two opposing forces; The balance of such opposition is everywhere, controlling everything... I bring the right angles together and the space becomes white, black or grey, while the colors are pure red, blue or yellow."

From the words of western modern masters, we can see that they explore formal language by observing objective images, combining artistic thinking with their unique imagination and creation, and gradually form new formal concepts and formal languages, rationalize them, and form unique personal artistic thoughts and styles. In other words, the formation of formal language is derived from the artist's artistic concept, and different artistic concepts produce different painting formal language. Modern painting and contemporary painting coexist in diversity. Freedom and creation are ideal artistic states, and they also reflect the spiritual pursuit and personality of modern people.

The essence of the formal language of painting is the way of the content of the work.

The expression of the relationship between form and structure of the picture comes from the painter's perceptual and rational cognition: perceptual cognition refers to the phenomenon of things directly perceived by the painter's senses, the external connection of things and his understanding of various aspects of things. The picture does not beautify the picture, but naturally shows the form of personalized language. Rational cognition is the relationship between the image features, elements, formal language and the whole and parts of the picture.

For the study of formal language, its expression in painting works can be roughly analyzed from the elements of shape, color, space and time, texture and material.

The form of painting language can be summarized into three parts: language form, form and technique form. Language form is the external expression of the work. It forms rhythmic and rhythmic expression through the elements of form, color, time and space. The form is the intrinsic way of the work. Its function is to form the "trend" of the picture through the organizational structure, artistic technique, formal style, formal implication, formal beauty rules and so on, so as to form the basic frame of the picture. Technique form is a practical process of integrating the connection between form and language through the use of materials, which is called "the kung fu at hand". Goethe said earlier: "the material is visible to everyone, the implication can only be found by those who have to deal with it in practice, but the form is a secret to most people. The formation of formal thinking and formal concept depends on the integration of aesthetic cultivation, art theory, thinking mode and art law, and is also the embodiment of artistic achievements of artists.

Without "form", the form language of modeling can be called the most basic and important part of the painting works. It is inspired by natural objects and forms as the prototype of artistic creation, and forms are formed through artistic processing, selection, extraction, creation and reproduction.

Paintings from the primitive period, such as the Lascaux Cave fresco "galloping horse" and the altamira cave fresco "wounded buffalo", have abundant expressive forms even if they are appreciated with the eyes of modern people. Compared with the paintings in the classical period, I was more rational in modeling. Painters applied anatomy and perspective to their paintings through observation and thinking of objective objects and rational analysis. In this historical period, painters' exploration of the organic connection between various parts of the form and structure as well as the form and division of the picture far surpassed the painting in the original period. The images presented in the paintings can be called lifelike, which is also the embodiment of the abilities and skills of the painters. Therefore, there is a kind of evaluation standard for the image depicted in the picture, that is, "image and unlikeness" or "right and wrong". On the premise of ensuring the accuracy of the body structure, light, shadow and object image are used to divide the picture "reasonably" so as to form an organic connection between the body structure. In the period of modernism and postmodernism, the form language of modeling has entered the stage of individuation, getting rid of the single painting technique, and the depicted objects have appeared the form language form of more subjective processing or deconstruction. These exaggerated, deformed and deconstructed forms constitute the multiple image features and styles.

It can be seen that different times have different aesthetic trends, and the pursuit of formal language also reflects the aesthetic era. Modeling formal language is the artist's rational understanding of shape, form and language. It also reflects the artist's mastery of artistic language and the formation of his own personality. It is also an expression of the artist's personal aesthetic taste after a deep understanding of the artistic tradition.

Color formal language is the organic connection of color organization structure, formal beauty rule, aesthetic feeling and emotion in painting works, which belong to the research category of color formal language.

In western art history and Chinese art history, the organization and arrangement of colors are very similar, and the organizational relationship of formal factors is basically controlled in white and black. The complementary use of red and green, blue and orange, yellow and purple enriches the expression of the color form. The relationship between rhythm and rhythm expressed in such paintings has become a very important factor in the color form. Western classical painting imitating natural form, for the understanding of form of color in a painting, in addition to the similar surface painting color area allocation, in shaping the form and the technological level of image features, combined with the trend of white and black color polarity changes, from red to green, and blue to orange, and yellow to purple color trend of subtle change law into the color form in the relationship.

The emergence of the French impressionism symbolized the independence of color. The use of almost scientific analysis method made the formal beauty of color and the structural relationship between the area distribution of color blocks reach a new height. The paintings of late impressionism, postmodern art and contemporary art use the complementary and extreme colors of color to the extreme in the relationship of color structure.

The construction of space and time is different from the construction of form, which is neither conception nor composition. Painting, as its name implies, is an artistic creation of two-dimensional plane space. In painting, how to present multi-dimensional images and time dimensions on two-dimensional carriers? Subjective creation, virtual illusion, transformation of time and space... Art is not science.

In addition to modeling and color, texture, as a unique form of language, appears in the picture. The painter USES various natural and industrial pigments to present smooth or uneven visual effects in the picture, forming expressive texture formal language.

In the use of Chinese painting materials, there is a kind of smooth texture form, which is a kind of special texture form language formed by the painter taking advantage of the incompatibility between color and some chemical materials. Although the traditional concept of artists do not like this method, but it exists in a unique form of beauty.

In the process of contemporary painting creation and practice, the selection of materials is relatively broad, such as oil painting materials, propylene, plastic paste and compatible composite materials, enabling artists to expand the form and texture of language in two-dimensional images. They can also paint according to the needs of visual effects, and create paintings with rich layers and strong visual impact by using thin and thick uneven texture forms, so that the expression of painting forms presents more possibilities. These linguistic forms constitute a powerful linguistic feature of the material. But compared with the texture of comprehensive materials, the expression of this texture form is slightly inferior to that of material form language.

Originally, it refers to materials that do not belong to painting materials, which are directly or indirectly applied into painting works and become the medium of formal language in painting works.

Non-painterly materials include pieces of cloth, printed matter, photographs, newspapers, weeds, wood, sand, ready-made products, etc. The required material mechanism is cleverly collaged into the painting works -- namely, hand-painted and real objects are combined to make it a part of the formal language of painting.

Contemporary comprehensive material painting is a new art form with texture and materials added on the basis of traditional formal language. For example, the Spanish avant-garde painter and sculptor Antony tapius wrote hilu and kompanis, and the representative German neo-expressionist painter Anselm kiefer wrote lead cast library, Margaret and order in the night. In contemporary art, the use of comprehensive materials has become the main body of painting, artists are happy with its rich expression, making the language of contemporary visual art more diverse.

The pursuit of art, is a taste, is the perception of life. The formal language of art should have an independent aesthetic value, not a simple imitation of the objective, let alone a deliberate imitation of other people's formal language, the lack of formal concepts and only play in the form of superficial language will inevitably lose vitality and depth.

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