Keywords oil painting copy teaching copy meaning copy concept copy requirements
China Library Classification Number: G424 Document Identification Number: A
Oil painting is a plastic art with western cultural characteristics. There are many methods we can learn from, and copying is one of the effective methods, especially for beginners of oil painting.
Throughout history, most famous painters attach great importance to copying and studying the works of masters, so as to gain artistic experience and visual experience, get familiar with the basic laws of color, find their own expression methods, and turn themselves from imitators into successful creators. For example, during his eight-year study tour in Italy, Rubens, a famous painter at that time, learned color from Titian and momentum and sculpture texture from Michelangelo by copying, which laid the foundation for his brilliant achievements in art. More than 100 years ago, copying famous works was a necessary stage for painters to receive training. At that time, no one would doubt the importance of learning from ancient masters. Today, although some students are dismissive of this, learning the color language and expression skills of ancient masters is still the simplest and most effective way to train students' eyesight and skills. In China, many students majoring in fine arts mastered and became familiar with the master's painting procedures and color skills by copying, and created many influential paintings, which made the world sit up and take notice of China's oil paintings. For example, after studying Balthus's painting art, Guo Weixin, a contemporary painter, gained inspiration, found his own painting language and created a series of influential landscape paintings.
However, in the oil painting teaching of art majors in non-art colleges in China, it is generally believed that students' imitation will hinder the improvement of painting basic skills; I am afraid that Taskmaster's color language and expression language will hinder the development of personality; And I like to encourage everyone to "observe objective objects with their own eyes". But for a beginner, it is really too difficult for a person who has not found his own unique painting language to observe objects with his own eyes. Some obedient students are still blindly loyal to their eyes and lack research on the formal factors of painting itself. They have no desire and interest in imitation, and gradually become passive, rigid and lack adaptability when sketching. On the contrary, students who show a strong willingness to imitate in their studies are very capable. They have a strong interest in painting, a proactive learning spirit, a wide professional coverage, and their painting ability has improved rapidly. It is conceivable that if a junior is interested in impressionist Sisley and studies to imitate his works, such as The Flood in Port Mali, what inspiration will he get? First of all, he can draw reflective water and clouds, which has a strong interest in brushwork. Then he had a new understanding of the subtle relationship between color levels and brushwork. Perhaps he also got some insights into the structure, composition, space and color of the picture, as well as the spirit of China's classical aesthetics-"take one as ten, see the big from the small". A person who advocates realism may have mastered the ability of accurate description, or get twice the result with half the effort.
Copying is undoubtedly an effective learning method. Knowing the road that every successful person has traveled, it is not difficult to find that their footprints are more or less above the footprints of their admired predecessors. As for individuality, this artistic pursuit is achieved step by step. Pan Tianshou, a famous Chinese painting master, said: "Painting is also academic, so practitioners must follow the old ways, accept their own experience and methods, lay a solid foundation for innovation, and then move forward to a new future." So copying is an indispensable lesson for beginners of oil painting. In the process of copying teaching, let students gradually understand the language of oil painting and gradually form the embryonic form of their own oil painting language. What is plagiarism? Copying, also known as "approximate imitation", includes two different learning methods: approximation and copying. Pro and copy have different learning effects. Li Rihua in the Ming Dynasty said, "When you are in power, you can copy the shape." . The purpose of copying is not to draw exactly the same thing as the original painting, but to analyze and understand the brushwork, modeling and composition, color adjustment, interest and the application of origin and evolution of the ancient pictures in the process of painting, to get inspiration from them, to absorb the ancient techniques and creative experience, and finally to form their own style.
But not plagiarists will succeed. A person's success depends largely on his own quality. As for the method or copy object, improper choice will naturally delay your future. Therefore, how to copy is a very important problem for beginners of oil painting. I think students should do the following four things in copying teaching:
(1) Select the appropriate template. After a solid basic training for junior students, according to the professional syllabus, guide students to determine a painting master they particularly like, and copy his representative works as a model. For example, landscape painting, we can choose Crowe's Memories of the Mongolian Fontaine, Monet's Impression Sunrise and Ponar's Dining Table and Courtyard. Portraits can be selected from Lie Bin's The Tracker of the Volga River and Van Gogh's Doctor Gachet. Still life paintings can be selected: Fruit with a Porcelain Cup by Cezanne, Dry Sunflower by Jixi, Peace by Negunos, etc. When choosing the template, you must choose the excellent works of famous painters, because the works of famous artists have unique artistic style and vivid images, and they have achieved high attainments in pen, color and composition. For example, the port of Algiers depicted by Monet's Impression Sunrise. The morning fog in the harbor is filled with patches of lavender and orange, and the rose-colored sky is stained with various colors. The three-leaf canoe goes out to sea in the slight fluctuation of the waves, and the chimneys of the sky factory, the cranes on the giant ship and the working people are faintly visible in the distance. Monet is also very particular about using pens. On the screen, at first glance, it seems to be extensive and messy. But look carefully, these strokes are long and short, thick and thin. Oblique strokes spread far away, and condensed strokes make the water waves appear turbulent and lively. The characters on the ship are vague, as if they were in the fog and swaying with the waves. Monet's fine grasp of rich colors is in place, bold sketches and overall control of lines make people feel that he is creating instant time, as if everything around him is flashing, flowing and spreading. Therefore, when choosing copying works, we must choose excellent works and abandon those vulgar and low-level things, otherwise the style of the works we have learned will be lower, which will affect the growth of students. As the saying goes, "the teacher is high and the apprentice is strong." That's the truth. At the same time, it should be noted that in the initial stage, it is advisable to choose a simple picture or a certain part of the work, and avoid choosing panoramic works with many people and complex scenes.
(2) Read through the template. Facing the master's works, it takes a gradual process to understand the essence of his paintings. As Zhu, a Neo-Confucianism scholar in the Song Dynasty, said, "You can't know what it means until you read it a hundred times." Only after studying it very carefully can we begin to understand the complicated and subtle process needed to achieve a special effect. For example, Vermeer's handling of light has been admired by painters and scholars of all ages, but to understand how he achieved the effect, it is necessary to analyze the techniques. Take the girl in the red hat as an example. First of all, we should pay attention to the clear boundary between the bright part and the dark part. Second, pay attention to the boundary between light and shade-"the boundary between light and shade"-this boundary is handled with great delicacy. Third, please note that in the projection area, small details blend into the dark haze. Fourth, on the bright side, 3D modeling is simplified; Color processing is also simplified. Contour lines are also an expression. But the key to understanding Vermeer's works is his handling of highlights. The layout of the highlights in the works is as precise as the highlights of jewelry, and the composition is as elaborate as jewelry. A drop of wet paint on the corner of the girl's mouth makes the light spot stand out. However, some of our students have not done enough in reading pictures. They looked at the template and rushed to make a draft. The draft is not ready yet, and I am eager to finish the painting in general colors. This is definitely not a big gain. Therefore, before we leave, we should appreciate the works, study the works carefully, analyze the painting procedures, modeling characteristics, brushwork, composition and color setting, and find out the wonderful and distinctive features of the picture, that is, "seeking truth from God and understanding God from evidence". After careful consideration, we have a clear plan, and then we can draw our own works.