| 视觉与材质-油画颜料的视觉效果 |
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| 引用本文： | 汪磊.视觉与材质-油画颜料的视觉效果[J].上海师范大学学报(基础教育版),2003,32(2):119-124. |
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| 作者姓名： | 汪磊 |
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| 作者单位： | 上海师范大学教育科学学院 上海 |
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| 摘 要： | 本文主要从油画的材质色层、油画的传统语言与技法知识、油画所负载的绘画本质等方面进行研究。通过对佛兰德斯和北欧、意大利和南欧的色层语言的分析,可以看出油画这种艺术形式之所以能长时期吸引人们,与它的材质密切相关。这种由材质形成的色层语言不仅生动地表现了对自然的摹仿,而且体现出它独特的色层美感。因此,研究油画作品时,除研究油画再现自然中的美外,对油画色层语言生命力的探寻也是极为有意义的。
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| 关 键 词： | 丹配拉 罩染 覆盖 色层 |
| 文章编号： | 1004-8634(2003)02-0119-(06) |
| 修稿时间： | 2002年12月10 |
Vision and Material Quality |
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| WANG Lei.Vision and Material Quality[J].Journal of Shanghai NOrmal University,2003,32(2):119-124. |
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| Authors: | WANG Lei |
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| Abstract: | Drawing is an art form in which its practitioners have attained a considerable expressive range with a few materials and tools. About a dozen of those discussed here have contributed to most masterpieces. Clearly, these simple materials were widely used and very endurable, because they were responsive to the artist' s will. It was the artist who made them eloquent and who a-chieved bold gestures or subtlenuances with the addition of a drop of oil or a slight twist of the pen. The Western tradition of drawing discussed here emerged in the early Renaissance, at a time when medieval practices began to give way to a method, the observation of nature, and an illusionary imitation of nature. Today we rely on experts trained in art history, science, and, to a lesser extent, art to tell us who made a particular drawing, for what purpose, and how, but few of these experts have practical experience with the materials. We must study these materials and techniques as we would learn a dead language. |
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| Keywords: | tempera gloss cover medium |
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