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杨克勤以她充满视觉张力和精神张力的巨幅油画而在近年引起了美术界的关注。在她93年创作的人物系列油画中,她就已开始将在中央美院油画系学习的绘画语言及技法,运用到对画面人物的衣褶、姿势、面部表情的刻划上,从中不难看出她创作时的绘画语言与心灵语言相互呼应、交融。情感的运动轨迹是直接的。值得一提的是,在这一年油画作品中,对表现对象进行有意识地截取,以造成内容冲出画框的心理效果,开始初见端倪。然而油画技巧和油画语言以及对画面截景的处理,并未完全明显地传达出杨克勤对油画这种语言形式之外的文化情境,并通过这种
In recent years, with a huge oil painting full of visual tension and mental tension, Yang Keqin has drawn the attention of the fine arts community. In her series of oil paintings created in 1993, she has begun to apply the language and techniques of painting learned at the Department of Fine Arts of the Central Academy of Fine Arts to the depiction of pleats, poses and facial expressions of the figures, When she created the painting language and spiritual language echo each other, blending. Emotional movement is straightforward. It is worth mentioning that in this year’s oil painting works, the intentional interception of performance objects to cause the psychological effects of the content out of the picture frame began to show its cues. However, the techniques of oil painting, the language of oil paintings and the processing of screenshots did not fully convey the cultural situation of Yang Keqin beyond the linguistic forms of oil painting.