Decoration oil painting selection among

Decoration oil painting selection among

Painting (here refers specifically to a pure hand-painted Oil Painting, not painting or simulation of some cardboard painting, etc.) is representative of the Western art system. Hand on canvas by the artist on art, has a strong artistic, unique. At the same time it has more rich colors and gloss levels, giving the feeling of beautiful bright colors, vivid decorative effect, and good quality oil is not easy to peel off or fade, and can be durable, and time with the precipitation. All in all, printed photo of the painting than the painting (painting cardboard painting or simulation) is more artistic, unique; more color than the bright beautiful painting, three-dimensional, and therefore more close to life, more can cause the viewer (especially young) resonance.
The painting reflects the choice of buyers can be a lot of information, it is mainly related to gender, age, personality, identity, love the taste.
1 From the general distinction between gender:
Guests tend to masculine men, sublime, the atmosphere of some subjects, such as the Great Wall, Yellow River, dense woods, tiger lion, Kuan Kung, a great man, etc., but also like the large number of Chi Fu; while women tend to customers sweet, gentle, delicate, Subtle some themes, such as classical flowers, garden style, small animals, their portraits, etc., but also like to fine some of Chi Fu;
(2) generally from the age of distinction:
Young people are more inclined to lively, crisp, some hippie theme, such as cartoons, abstract art, etc., and middle-aged or elderly guests tend to quiet, steady theme, such as Chinese landscape, still life, statues, etc.;
3. Distinguished from the general identity:
Identity is not the same, love is not the same. If businessmen like Geely, and appealing subject matter, such as the Guan Gong, the God of Wealth, statues, landscapes, fish diagrams, and politicians like steady introverted subjects, such as still life, landscape and other ….。 China .
4 up from the distinction between different space:
If the home space paintings, then buy oil painting, the first place to determine the specific location of oil painting. Then depending on the location, choose different types of painting.
In general, the study, the main restaurant still life flower painting; living room or bedroom, living room with landscapes, portraits mainly. Tucson artists subject matter, style and color, etc. to be matched with the decor, the size of the space size you need and the size and the size of the wall to match.
Such as living room wall behind the sofa area is generally larger, can be linked to a larger size of the painting, but also seemed more generous, large
5. Distinguished from the style up:
Some people prefer luxury and beautiful style, you can choose some of the atmosphere, subject matter, some of the screen to be colorful, but also need to frame a number of gorgeous; Some people like the modern style, you can choose some abstract theme, you can use some straight lines and there is a metallic frame, and some people like simple and plain style, you can choose some of the restrained, stylish themes (such as landscape area), more elegant color screen, and can use some simple but not simple frame to set off.

Abstract in the fairytale

Abstract in the fairytale

Children draw attention to the sounds of nature and the true, humorous and poetic interest, but also pay attention to the beauty of the landscape of reproduction. A good painter of children tend to have uninhibited imagination, and burst out through the imagination of the primitive, instinctive art of thinking, which is often the essence of art from more recent. Of course, the color, the color of children’s paintings generally transparent mild, fragrance bright. This is a heart-warming art.
Year-round children’s paintings steeped, so Tang Yunhui used to that world, even if the change of a brush into the creation of abstract painting, children’s Tucson artists
can not escape his influence left. So, he started his abstract oil paintings, they give their own mark on the “mark”, which “mark” is precisely to his strengths, style lies.
Browse Tang Yunhui recent abstract paintings, is a quiet gentle pleasure. Unrestrained color may not have the impact of publicity, it may not be used out from the conventional image of the eye-catching, but the art is not necessarily a long head start, Tang Yunhui abstract oil paintings, still adhering to a consistent pattern of large ones.
Although the abstract should not be interpreted, but I still read from his work in the long absence of fresh, warm, ethereal atmosphere, the characteristics of classical art who are curious hybridity quite modern in his awareness of the work, get a refreshing aesthetic experience.
Natural landscape is moving away from modern literature and art, which seems to be a trend, Impressionism are keen to show the natural world has long faded from view. However, the natural landscape in the minds of most people’s status has never been lower, the landscape is written in people’s minds. Tang Yunhui natural landscape is one of painting’s main theme, which includes not only the field landscape, flowers, and nature of the animal creatures. But they work in the artist is not a simple reproduction, but after the artist’s subjective sense of refinement, “After the soul of the work”, became the canvas on the fruit. Tang Yunhui way to experience the landscape no doubt has its own characteristics, his consciousness in the world of landscape, most cheerful and harmonious, hazy and warm. Ink and watercolor painter painting techniques into the creative, lightly shaded, light to hook lines and coloring, present in the natural landscape looming on the canvas to become the carrier of his emotions and feelings. Whether it is a large flower field, floral clusters, or clouds of light and shadow, shapes and sizes … those creatures tend to be a natural landscape on a dark background color of the brightest, like the eyes of the screen, dim the hope of life.
I like the warmth of the art is the art. The world cries too much, too many disappointing and ugly, detached from reality should be the people on the art of companionship and comfort, this literature, painting the same way. Tang Yunhui paintings warmth and harmonious theme selection, soft, sweet color tone, the picture provided by the strange dream of the imagination, are carrying the artist forever, “childhood world,” the art of feelings. Here, the “world of childhood,” the insistence by no means the usual sense of making a fuss, ignorant naive, when the art of painting and the contact place in the world of childhood, in fact, means that the art of the true return for a better life for himself. Exaggerated, bizarre, along with the unique, humorous, fantasy … When these complex elements blend together, painting by the artist’s brush strokes to the screen, the abstract will have a soul, which belongs to the soul of each of the different viewers Each viewer is read from their own childhood – can not give eternal childhood.
When injected into the abstract in a fairytale, Tang Yunhui creation will have a vastly different characteristics with others. He let us live with the soul of painting space, gratitude, and memories, of course, there is not devoid of fantasy.

Mou Huan: walking in between two cultures

Mou Huan: walking in between two cultures

Mou Huan as “walking between two cultures,” the artist, not only has a profound background in Chinese art, but also Germany and the world famous “New Expressionism Paintings”
” in Iraq door-Astoria artist’s pupil. In his paintings, the characters do not face, no features, no facial expressions, only the simple lines and colors, but it reveals a deep internal strength of Chinese painting and tension, is a completely oriental expression of subtle but powerful.
Mou Huan’s artistic path began in the Sichuan Academy of Fine Arts. Although the United States Sichuan solid form of realist painting tradition, but in the 80s of last century was a “scar art” and “local art” led Southwest art. Mou Huan, the former is the “Cultural Revolution” of reflection on the “Cultural Revolution” since the culture and art form long-term empty, false patterns rebel; the latter due to multi-national dwelling is located southwest of human geography environment, the artist gradually turned to them, to show the margins of society and therefore a more humane existence. Mou Huan’s graduation work “salvation” also experienced the process.
German art critic Klaus Sebastian Sidi An that Mou Huan’s works in the background of the characters and the shackles from the same time, artists are also self-development: the color of his completely liberated from the narrow composition out. In his new paintings created the outline of themes gradually dispelled. Physical world becomes more abstract, and as the influence of color is performed free and open and full of personality.
A German museum curator Germany, pointed out that not only is the narrative approach, and is painting itself, but also the power of color and light of the observations are Mou Huan how to treat and articulate their new works criteria. This makes his work not only contemporary but also demonstrate its timelessness. Of Mou Huan, he repeated the concern is that in China the old times and build a bridge between the new era, is get rid of the shortness of life and work of the superficial layer. His paintings are in a very Eastern way to prove their durability and timelessness to prove their strength and intensity. Mou Huan’s works open people’s horizons, in China’s ancient culture and the rise of a new era in the spiritual power of the East in the 21st century was surprised at the rapid change between the Western world, has put up a mix West of the bridge.

The poetry of painting and photography together

The poetry of painting and photography together

George Morandi (Giorgio Morand ,1890-1964) is the greatest artist of the 20th century, at least the temptation to resist the charm of Paris, on this point, no one can. Among these, there are many reasons: not only because he and his hometown are hard to break away the strong emotions. UK Bologna, a strong association, where he can live in the same room, working in the same room, a full five years.
Morandi was born in Bologna in Italy, never married, rarely go out to travel to distant lands, and from the studio and taught only between schools, is a hermit type of artist. Focus on the simple theme and introspection, was called “the painter painted a row of bottles. ” Indeed, Moran Di Yisheng the face of a few simple themes, bottles still life, landscape and other home repeatedly to study the changes of light. In addition to his chiaroscuro lighting, but also the humidity of the air show, giving a very solemn quiet, the feeling of eternity in front. Morandi said: “The life of half a dozen paintings (six) paintings of one artist is already enough. ”
Ji Like surrealist painters, commented: “Morandi with European art truly profound sense of pure emotion, the performance of the metaphysical spirit of ordinary things. Morandi pictures to teach young people to the eternal laws of geometry, that is all great, all the United States, the foundation of all depressed feelings. “Obviously, Morandi’s unique is not the end in his choice of lifestyle, although this is an important foundation. Morandi finally left the 20th century’s greatest poet, painter reputation. Speaking of the 20th century painter, and he may be able to find a comparable, and that is Picasso. But to shift from the contemporary art field of contemporary poetry, 20th century left behind, perhaps only one person Morandi. Today, if we want to proceed from the special form of poetry appreciation of photography, then, and maintain a consistent style throughout, it must also mention another important figure, this is Jenny Berg GADING photographs.

19th century European classical oil painting

19th century European classical oil painting

Monet’s “Seine River, near Weite Yi”, a different style in his own colorful works of impressionism. Famous oil painting artist, the Central Academy of Fine Arts, Professor Wang Yidong which read: “only two colors blue and green, although the use of light and shade or color is not known for the domestic fine arts, but this is the most representative of early Monet one of the work is 20 years later, such as ‘water lily’, like sunlight and shade of the ‘image of Monet’s’ seeds of the formation of the invisible. ”
In recent days, including “Seine River, near Weite Yi”, including 100 works of 19th century European paintings – “Classic and beautiful – Simon Foundation for possession of 19th Century European Painting Exhibition”, exhibition at the China Millennium Monument World Art Museum out. Curator Wang Limei, told reporters: “Expressionism Munch, impressionist Claude Monet, Napoleon III, Queen painter Cabanel … … The name stands for a new art and art history, classical art of the turn of a derivative Impressionism and Expressionism . but needs to be noted that though the exhibits from famous, but were all from the early collections of private collectors, rarely appeared in public, so little knowledge of the domestic arts. In addition to important works of classical realism, the performance of labor life and works of female subjects, Pissarro, France, Britain and other works of Turner is the first time on display in China. South America known collector, Mr. Simon brought the 100 paintings, vivid images, like the history of reproduction of the European 19 century, the development of classical art during the special. ”
Layton, Moore, Corot, Pissarro, Munch … … they are the 19th-century art of ancient Greece’s most loyal followers, Wang Yidong that even if the classical Western aesthetic standards of beauty has been out of the overall development of the arts but did not affect these painters that “noble simplicity and serene greatness” style.
With particular emphasis on soft color and delicate lines of the British painter Moore, representative of the Victorian era artist, in his “Quartet: A tribute to the art of music artist”, the Greek style is very clear, classical musicians and girls robe folds to Greek sculptural sense of the full performance level of conditioning lines of Moore’s great ingenuity, in order to avoid a complete “scenes of ancient Greece”, he deliberately painted on the modern instrument, Wang Yidong, said: “In fact, this contradiction is a classical 19th century artists outside the inner world of creation and the ingenious combination. ”
“Thus, at this time with a strong history of painting is the brand, the modern man to the appreciation of them, if only only emphasizes the art of the 19th century style, or lamenting that stay in the gorgeous colors on the canvas, the artist also wasted some carefully crafted. by that time the mood to feel the atmosphere of the painting, take off the electronic age cool completely immersed himself in classical flavor, described by metaphor to the fascination of Leiden and splash spray turbulent rivers nymph wizard, go to swim Zuoen Ba Valencia vast lake beach style … … At this time, paint in the beautiful, the experience to calm the inner world of the artist and the value of art itself, the most innocent. ”
Perhaps it is based on the visual aesthetic and spiritual enjoyment, as the British Queen Victoria is the only painter of Leiden in the works of Baron possession of treasures, the “beach to collect pebbles of the Greek girl” is entirely in Greek mythology character modeling for the basis of nepotism flying Gengrang screen theater with a strong color. Stephen George, has expressed his critics, he personified the way to recall the classical tradition, with a uniform mapping method to different locations in the visual balance figures and abstract forms that he described the use of precisely the average woman has become the goddess of sublimation image.

Impressionism and Expressionism intermittent stage reconstruction of the symbolic art

Impressionism and Expressionism intermittent stage reconstruction of the symbolic art
Barr said: “If his eyes as the ears Impressionism, Expressionism put the eye as the mouth.” (Note: Barr: “Expressionism”, 1920 edition.) Expressionism is the principle of subjective visual desire to portray the external world, against realism and naturalism as camera-type eyes with a focus on external details together. Expressionism represented within the human eye, to make a new world completely unique explanation that can be observed in contemporary materials and machinery does not represent the real social world, this society distorts human nature, which will become the machine like animals, the world is full of suffering and despair. Expressionist artists so required to transform from a subjective desire for external reality until it changes to the nature of the human spirit and the line, this time, the world is the value of human sense.
Argue that the performance of the “real” primarily in the subjective field, it will inevitably seek new artistic means to express the twisted mind: the distorted lines, exaggerated shapes, unusual colors, mechanical motion-style action, telegraphic scouring Language … … appearance on the viewer opened from the outside, into the spiritual world, all things often through the eyes of the protagonist was shown his vision of things can make a strong deformation and subjective interpretation.
Expressionist painting in 1905’s “Bridge Club” came the organization formally announced, but the movement in the theater did not immediately have an impact. In World War I, especially after the war, expressionism became an important form of dramatic expression.
Expressionist drama rejected the traditional rule, break exists in the logical relationship between subject and object, according to the human eye within the re-creation, not to reproduce the true object of their own material, but the emotions aroused by their performance. Expressionist theater with intermittent brief language and repeated complaints inner despair and pain, Scream-style recitation accompanied by exaggerated movements. The performance of acting that blows the traditional view, and inner turmoil to seek consistent. “Fixed in a position of abstract rhythmic recitation, with a strong, impassioned speeches and seizures reveal a tight face, broke, angry show, not the specific role, but reveals the role mental state. ” (Note: Babo Lai: “European expressionist drama” Paris, 1971 edition P208.) This is the show in 1918, actor John Deutch, the performance of the Buddha Hassan Koehler Drama “son”, the feelings and take the performance of position. This approach is reminiscent of expressionist pioneer Norwegian painter Munch’s masterpieces “The Scream”, “center of the screen a ragged figure uttered a cry of terror, his hand over his haggard face, the whole body is deformed. He the feelings aroused in him around the concentric waves radiated from the surrounding environment deformation … … … … “(Note: WU Guangyao Translation:” Twenty Century stage design innovation “, in 1986,” Stage Beauty “total No. 5 P164. ) In the show, scene lighting and fabrics, like an actor to become a dynamic drama of life, integrated in a whole together to create a script to be reflected in the motif.

Surrealism, Art of Self Discovery

Surrealism, Art of Self Discovery
Art has always been an integral part of humanity’s great quest for knowledge. The interchange of knowledge between artists and scientists has led to many of our most important advances. For example:
It was artists’ zeal to perfect their craft that led to a better understanding of human anatomy. Masters of the human form, such as Michelangelo, broke social taboos and laws in order to study the human body through the dissection of corpses. Their anatomical research later became a vital part of medical knowledge.
Geographers and map makers created mathematical grids to make accurate maps. Artists used that innovation to translate three dimensions into two dimensions.
It was painters who discovered the principles of optics while examining how the eye sees in order to better “trick” the eye with their images.
Around the beginning of 20th Century, another important interaction between the arts and science began. A medical doctor, Sigmund Freud, discovered the “psyche” or “soul,” while trying to find the cause of his patients’ unusual symptoms. Psyche is the Greek equivalent for Anima, the Latin word for soul. Both refer to something metaphysical–beyond the physical, invisible to our eyes.
In this way, Freud unwittingly rekindled an interest in the metaphysical realm, which science had shunned in its quest for knowledge. He then endeavored to study it in the same way the physical level had been: By applying reason. One of Freud’s most prominent disciples, Dr. Carl Jung, further developed the field of psychology and the understanding of the psyche.
Freud and Jung began a whole new era for mankind by mapping the threefold constitution of man: the Spiritual, the psychic, and the material. They brought to the forefront the contents of the psyche as represented in ancient mythology and symbolism and taught us that the psyche can be understood through reason.
While Freud laid the scientific groundwork, Jung leaped forward in his exploration of how the unconscious reveals itself though symbols. In this respect, artists once again were needed to join the quest for knowledge. Jung himself painted and sculpted his dreams and visions so that he could better understand them.

Hunter Mountain, Twilight

Hunter Mountain, Twilight
Seldom does a single work of art have any kind of lasting impact upon a nation’s social, political, or environmental course, especially in today’s media-driven public consciousness. This, however, is the story of a painting that moved a nation. In 1866, Sanford Robinson Gifford painted Hunter Mountain, Twilight. Gifford was a card-carrying member of a late generation of painters of the fabled Hudson River School. But if the title of this painting brings to mind any kind of breathtaking, pristine wilderness scene reminiscent of Thomas Cole or Frederic Edwin Church, think again. Picture a bright, twilight sky, a distant, bluish mountain of modest proportions, and a landscape where the predominant colours are not deep forest greens but brownish, tannish earth tones with far more tree stumps than trees. This was Hunter Mountain as Gifford saw it and painted it shortly after the Civil War. And lest you link the two, although it might look like one, Hunter Mountain was in no way a Civil War battleground. It is in an area about a hundred miles or so north of New York City, overlooking the West bank of the Hudson River. It was a wilderness all right, but desolate, not pristine. It was a shameful mark of just how low we’d sunk as guardians of the virgin landscape we’d wrested control of from the natives little more than a hundred years before.

In the years following the Civil War, much of the state of New York was overrun with small farms, strip-cut logging, erosion, and in some areas, early forms of industrial water pollution. About 75% of the state’s once-forested areas were a thing of the past. New York, and the lower Hudson Valley in particular, were some of the first documented areas of large-scale ecological destruction in this country. And one of the men responsible for this sad state was James Pinchot, a New York City logging and lumbering millionaire. He bought Hunter Mountain, Twilight from the artist sometime during the 1870s and the painting was to remain in the family for the next 90 years. His son, Gifford Pinchot, was born in 1865, the year Sanford Gifford made his first sketches for the painting. The boy was named after the artist. But if James Pinchot was an early “robber baron,” he was not one without a conscience. He was also an art collector and in his later years, one of our nation’s first conservationists. He helped found Yale University’s School of Forestry and persuaded his son to go into the field.

Hunter Mountain, Twilight was a sort of “smoking gun,” in effect, tangible proof that not only had the nation failed miserably in protecting its birthright, but that something had to be done to correct such a grievous sin. What remained for Pinchot the younger to do was to stir the political pot and prove that something could be done to repair the gross damage of a century of environmental rape. Gifford Pinchot took the family calling much further than even his father could have imagined. In the turn of the century Progressive era of American politics, President Teddy Roosevelt made him the first head of the newly established United States Forest Service. Later, he was twice elected Governor of Pennsylvania. And for a generation he was the most well known spokesman for conservation in the entire nation – with the possible exception of naturalist John Muir.

Muir was to the West what Pinchot was to the East and yet the two men were always at odds in their conservation philosophies. Pinchot saw the forests as renewable, manageable resources to be used and cultivated. Muir was more extreme, insisting that the wilderness should be left untouched by man in its most pristine state. Muir saw the devastation of Hunter Mountain, Twilight and vowed to protect his Sierra Nevada Mountains from such a fate. Pinchot saw his work as correcting the desperate problems of Hunter Mountain and the plundered Eastern landscape while controlling the various economic forces so that both might thrive. And both men (and their followers) have been successful. Today, photos of Hunter Mountain show a rich, vibrant, reforested green. The small farms have been abandoned; the Adirondacks have become a woodland recreation area. Large scale lumbering has largely moved to Muir’s backyard where, ironically, Pinchot’s forest management philosophy prevails – a shifting from art to science. And just as ironically, Muir’s pristine wilderness ideals now dominate the area just north of New York where the city has been buying up thousands of woodland acres to protect its natural water supply and avoid the cost of large filtration plants. And in doing so, it has necessarily placed these areas off-limits to hiking, camping, and other forms of human encroachment.

Today, Hunter Mountain and Hunter Mountain, Twilight are both safe. In some areas near the mountain trees are often so dense you can hardly even see the mountain. And with the death of Gifford Pinchot in 1946, and his wife, Cornelia, 14 years later, the painting was literally ripped from the mantel of the Pinchot home where it had been framed into the panelling for decades. Twice it was resold in the 1980s. It now rests in Chicago’s Terra Museum of American Art. The National Forrest Service inherited the rest of the Pinchot art collection. Unfortunately, these Hudson River landscapes, numbering over 200 works, did not enjoy the same good fortune. In fact, they’ve all disappeared. Twenty-five years ago, works by Hudson River School artists were out of favour. Appraisers valued them as worth no more than the canvas they were painted on. Pinchot family members believe they may have simply been left in the basement of the house where they were stored and been bulldozed over when the structure was demolished and the area reforested. Today, such nineteenth century Hudson River School paintings often bring five and six figure bids at auction. Thus, in the greatest irony of all, valuable art was likely sacrificed in the name of conservation.

Realism Paintings

Realism Paintings

The second half of the 19th century has been called the positivist age. It was an age of faith in all knowledge which would derive from science and scientific objective methods which could solve all human problems. In the visual arts this spirit is most obvious in the widespread rejection of Romantic subjectivism and imagination in favor of Realism – the accurate and apparently objective description of the ordinary, observable world, a change especially evident in painting. Positivist thinking is evident in the full range of artistic developments after 1850- from the introduction of realistic elements into academic art, from the emphasis on the phenomenon of light, to the development of photography and the application of new technologies in architecture and constructions. Realism sets as a goal not imitating past artistic achievements but the truthful and accurate depiction of the models that nature and contemporary life offer to the artist. The artificiality of both the Classicism and Romanticism in the academic art was unanimously rejected, and necessity to introduce contemporary to art found strong support. New idea was that ordinary people and everyday activities are worthy subjects for art. Artists – Realists attempted to portray the lives, appearances, problems, customs, and mores of the middle and lower classes, of the unexceptional, the ordinary, the humble, and the unadorned. They set themselves conscientiously to reproduce all to that point ignored aspects of contemporary life and society – its mental attitudes, physical settings, and material conditions. Realism in France appears after the 1848 Revolution. In France it expresses a taste for democracy. At the same time in England artists – Realists came before the public with the reaction against the Victorian materialism and the conventions of the Royal Academy in London. In spite of its social inclinations Realism produces no new style in architecture and few valuable sculptures.It was the time of introduction of new technologies in constructions. The revolutionary modular construction and largest spans in structural skeleton that could then be mass-produced – used on exhibition halls, railway stations; the use of cast iron as building material and invention of twisted-wire cable that extended main spans of bridges in Europe and United States. Less positive attitude toward technological progress can be seen in the first attempts to incorporate structural iron into architecture proper.