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人物色彩写生在水粉画的表现过程中可算是难度最高,最不易把握的题材之一,这是因为人物形体结构复杂,动态变化多端,面部表情丰富,色彩关系微妙,同时又由于人物形象在年龄、性别、职业、性格等方面的不同,都对人物写生有了更高的要求。首要的问题是对对象尽可能的深入了解、熟悉他,这样才可把他的表面特征和内在精神品质自然地结合在一起,深刻地表现出来。比如:我们看伦勃朗的自画像,作者对性格特征和精神面貌的把握,通过自己精湛的表现手法描绘出深刻的思想性和精神性,达到视觉上的震撼力。再如:印象派大师雷诺阿所作的肖像作品,完美的表达出被画者的精神面貌,给予我们是如此的栩栩如生。还有德加,谢洛夫,列宾的作品都完美地展示了人物肖像画的最高境界水平,给后人树立了学习的榜样。当然并不是我们甘拜于大师的脚下,而是通过学习前人的优点,借用前人的语言,表达我们时代的精神风貌,我们看中的是深刻性。
It is one of the most difficult and difficult topics to grasp in the process of gouache painting. This is because the human body structure is complex and dynamic, its facial expression is rich and its color is subtle. At the same time, Gender, occupation, personality and other aspects of the difference, all have higher requirements for character sketching. The first problem is to understand the object as much as possible and get acquainted with him so that his surface features and inner spiritual qualities can be naturally combined and profoundly demonstrated. For example: We see Rembrandt’s self-portrait, the author’s grasp of personality traits and mental outlook, through his superb performance techniques to depict the profound ideological and spiritual, to visual power. Another example: the impressionist master Renoir made portraits, the perfect expression of the spirit of being painters, give us such a lifelike. There are also Degas, Xie Luofu, Repin’s works are perfect to show the highest level of portraits, set a learning example for future generations. Of course, it is not that we worship God at the foot of the masters. Instead, we learn from the merits of our predecessors and borrow the language of our predecessors to express the spiritual outlook of our time. What we see is profoundness.