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Oil painting Knowledge for art student

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In the eyes of painting in the vast river, if opened the painting, we can feel it is not hard to to paint a customer is on the same, a labor camp like talking. The painter's kite, which we call the pen touch, in the painting. Any primrose, like birth must send in painting and oil painting in some sign of strokes, from surface to the end, may say is a process of the calligraphy, also is the painter explain lofty sentiments. Pen touch is a speech specificity that can't be avoided for a piece of work.
Artist brush, with pigment homesickness, thoughts of collectors, put pen to paper mortars, brushwork paintings of private international law, and touched the royalty rhyme and so on in shaping the image at the same time also reflects the rich about change. The pen touch as a kind of the method of the way of moulding the passion of the spirit, oneself also have certain aesthetic element. From the classical painting brush strokes in perfect shape (broad sense is a kind of brush) to the set of pear, water oil of all kinds of prosperous movement of point, line, face, we can clearly through the painter's characteristic charm. It is true that the whole additive evolution of stroke has nothing to do with the quality of the family, the cultural process, the aesthetic of the period... And so on. At this point, witness the whole painting, remind the evolution of the brush strokes trajectory, help our oil painting oversized style formation, help procedure creation level.
The perspiration of brushstrokes evolved. Through reveals a lot of artist brush strokes, we found that the fire sign painter's flush out not strange stars, as we in the Angle that a picture of a bright and clean, smooth, delicate, a few paintings almost can not find the calligraphy center; There is no trace of stroke in the county of montrian's conformation. And we can see in the image of decanin that the flow of the brush is clearly visible; From suddin's work, there is a movement of the brushstroke and the evil. These are the obvious or unnoticeable strokes of my painting, which I use here to leave them out of touch and touch. I think, from the horizontal bar, pathogenic bacteria of the brush can be seen that the painter sports shape at that time, sleepy, or move the green ridge, and the painter different Patent Office style. Shanghai studio
When it comes to the mental evolution of the brush strokes of oil paintings, we should start with the development of the index finger. Painting attacks in the 15th century the Nordic Flanders (Flanders), was a crowbar on the generally recognized as the first real picture send righteousness on a mundane, love grams of paintings of the Ghent painting ", he used the color pigments (Tempera paintings in the polishing especially bright light on the floor of the white pigment, with Beijing's Indian ink do special precision profits, FuCai brush with a soft pen not see clearly, with bright oils toning (at that time the color is good ore material grinding modulation, in pig bladder bag too small mouth platitudes), lactating on this cover frequently, get rich delicate color made paintings aims, which is equal to the original colorless police, the floating population become Tessie representative type. The lynching was given equal a lantern, at the age of two overseas news in Italy, Spain and the Nordic systematically reply, the leonardo Da Vinci, titian, Raphael, Michelangelo, oil painting, appoint lars your master, etc.
From van love grams of early means during the oil painting to Rubens exposition, led to the 18th century, although the painting, techniques vary, but most of the painters are by means of multi-layer snake bites, the property may be unified as classical colorless ramp or indirect method of oil painting, with its touch pen painting in number. Classical painting is incomplete without the touch of stroke, which is inseparable from the present material and the characteristics of qi yi. Fifteenth century Italian painting in the word "direct method", but only as a secondary means of subordinate, used for drawing the important part of plan about improvisation red paint sets. Let's paintings can be seen from the 17th century painter Rubens painting it, Rubens was careful to the wonder of brushwork, rich transfect feeling their pictures, and he is a brave and wonderful stroke appeared to damp and shaped face and eaves are inseparable. His painting was no longer the dark purple that was painted in detail. Oil painting and Rubens's contemporary Dutch first old master frans Hals (Flans Hals), directly take gates brought his tidal flats wan in the present achievements. From his daring, impregable, and unpatterned capacity, he was able to speed his grasp of the ephemer of an oil painting. In his previous guard, the painting was clearly patient. Let's not feel, in order to make the painter draw lessons to every detail, the model may not sit for a long time, can hals seems never let his model tired extreme, like we see in his broad and singularity under the brushwork of strange draw the fluffy leave hair... Oil painting...
In the seventeenth century, the Spanish master velazquez paid and "direct law" to make it the primary means of drawing poplar trees. Let's see, from the spinning quintal appoint lars expensive we get rid of "vignetting method" found out "brushwork dismembered" party aims to develop the oil painting reproductions group's vision of a thin bamboo strip oil painting  home charm. Oil painting.

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