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长时期美术界有一种写生与创作分家,将写生、创作区别对待的反常现象。似乎写生不算艺术作品,写生没有资格参加重要展览,似乎忘记了好的写生本身,就是一件完美的艺术创作。不仅历来欧洲油画大师重视写生,中国老一辈艺术家徐悲鸿、林风眠、吴作人、常书鸿等给我们留下许多珍贵的写生艺术宝藏。卫天霖毕生致力于风景静物写生,将印象派的光影变化融合到中国传统绘画,民间艺术和装饰美术的色彩中,创造了重感受、重写意、重精神气质,具有斑澜色调、凝重淳厚的独特艺术风格。董希文的西藏写生已提高为对景创作,他以洗炼的造型、装饰性
For a long time there is an anomaly in the art field that distinguishes between sketch and creation through separation, sketching and creation. It seems that sketching is not a work of art, sketching is not eligible to attend important exhibitions and seems to have forgotten that good sketching itself is a perfect art creation. Not only has historically the great masters of European painting have attached importance to the sketching of life, the older Chinese artists Xu Beihong, Lin Fengmian, Wu Zuoren and Chang Shuhong have left many valuable treasures of art for sketching. Wei Tien-lin devotes himself to landscape still life for a long time, integrating the light and shadow changes of Impressionism into the colors of traditional Chinese painting, folk art and decorative arts, creating a feeling of heavyness, rewriting, and spiritualism with a distinctive tone and solemnity Unique art style. Dong Xiwen’s Tibetan sketches have been elevated to the creation of scenes