On the Tone Expression of Oil Painting Landscape

On the Tone Expression of Oil Painting Landscape

Abstract: The reason why oil painting can flourish for hundreds of years lies in its unique, charming, complex and subtle tones. No matter in the process of sketching or creating, painters put in a lot of emotions, just like raising their own children: strong, gentle, rough, delicate, deep and bold ... These emotions are integrated into the birth process of the works with color, so that every oil painting has an emotional atmosphere that can express the painter's thoughts, emotions and will. The fusion of artistic conception and tone is precisely the embodiment of the painter's understanding of life and personal feelings.

Keywords: oil painting landscape; Tone; Emotion; Artistic conception;

First, the meaning of hue

Tone does not refer to the nature of color, but to the overall color evaluation of a painting. Although a painting uses a variety of colors, there is always a tendency, that is, blue or red, warm or cool, and so on. This color tendency is the keynote of a painting. Usually, the hue of a painting can be defined from four aspects: hue, lightness, warm color and purity. A painting has a clear tone, red tone, which is from the perspective of tone. Dark tones are in terms of lightness; Warm colors change from cold to warm; Gray tone refers to purity. In addition, there is a less commonly used definition: if a painting has a strong contrast between light and shade, it is called a long tone, if the contrast between light and shade is weak, it is called a short tone, and the rest in the middle is called a middle tone. In a word, hue refers to the overall trend of the picture, not the details. Without a unified tone, the work will be chaotic.

Second, the different expressions of oil painting landscape.

(A), a single tone change of harmonic tone performance

The method of color matching by using single tone change has a long history. For example, primitive humans painted all kinds of animals and daily utensils on the cave walls in monochrome, such as earth red and black. Some painters of later generations still used them in murals, decorative paintings and arts and crafts, but they were given new forms and stronger expressive force.

Kaii Higashiyama's "Blue Canyon" uses the blue phase in the hue wheel as the hue of the whole painting, and uses the lightness, saturation and cold and warm changes of blue to show the wonders of the juxtaposed Chinese fir forest. Blue crowns overlap like stratus clouds, and the distance between Chinese fir trees is also compressed. The ingenious arrangement of straight trunks forms a simple and clear blue tone of the whole picture, which seems to bring the singing of the music-like forest. In this blue harmony, it gives us a quiet and deep association. The overall impression of color is left to the audience, and the artistic appeal of color is more concentrated and clear. Many of his works, such as White Horse Forest, Chun Xue, and Snowfield Spectrum, all adopt the color creation method of single tone change and harmony.

(2), adjacent tones and tone performance

That is, it is formed by the collocation of similar colors in the hue wheel. The color relationship among hue, adjacent hue and harmony is widely used in life, such as the color matching effect of adjacent hue and harmony in indoor color design. Cezanne's observation, research and expression of color formed his own new color structure. By using the color matching method of colors adjacent to the color wheel corner in the color wheel, that is, the color wheel angle formed by a color adjacent to it or a color adjacent to it left and right generally does not exceed 90 degrees (the color wheel formed by the hue between this color and another color). Cezanne chose a group of adjacent colors from blue to green and from warm to purple in the cold color gamut. In the warm color domain, orange is the center, cold color tends to yellow, and warm color tends to red. Many of his paintings basically use the colors of these two color wheel corners to change the colors of cold, warm, bright, dark, strong and weak, showing the diversity and richness of colors, and sometimes use a small amount of complementary colors as matching colors (in order to achieve a contrasting color effect) to form vivid, powerful and harmonious tones, which makes the development of color structure logical. The works of various artists in different times reflect different faces, styles and techniques, but they all use limited colors to create a rich sense of color and a unified and coordinated tone.

(3), contrast color and tone performance

The so-called contrast tone means that two adjacent colors show the effect of forming their contrast, which can also be said to be the contrast effect according to the colors of both sides. Generally speaking, contrast color harmony uses the complementary color relationship between yellow and purple, red and green, blue and orange in hue wheel. Such diametrically opposed color collocation and mutual contrast constitute a rhythmic color method, which is very successful in some works of Matisse and Picasso. 1939, Matisse's music dominated the whole picture with contrasting colors such as red, green, Rayna Sue, black and white. The melodious color structure is organized by using the proportion change of its large and small color blocks and the rhythm change of lines and planes to produce brilliance.

Third, the role of hue in oil painting landscape and the expression of artistic conception

The creation of color tone is very complicated and subtle, and the language of color art cannot be replaced by a simple formula. It not only needs to understand the color law, but also needs to master and apply the artistic law. It has a keen sense of color and an understanding of color rules, and it also needs artistic processing such as refining, selecting and summarizing colors to form a centralized and unified tone. In oil painting, strong overall tone expression will increase people's emotional intensity, and people's feelings will help to understand, and this understanding will increase the depth of feelings.

Tone is the main color tendency of artistic works for the appreciator, and it is the commander-in-chief and commander-in-chief of artistic works for the creator. Therefore, experienced painter departments are good at finding out subtle changes in color through comparison, and they are also good at modifying the picture through comparison, which requires painters to strive for a unified tone of the picture through comparison. The connection between hue and emotion doesn't happen for no reason, and it can't be invented subjectively or kneaded arbitrarily. Arbitrary kneading can't resonate with people. The connection between this color tone and people's emotions can only be recognized, resonate and produce moving power when people's common feelings are truly reflected in works of art. Of course, skill is not an end, not for skill, but for better lyricism and freehand brushwork, focusing on image and artistic conception!

Personally, I think that the "artistic conception" emphasized by landscape painting refers to the seamless integration of the "meaning" of the viewer's subjective psychological factors and the objective "environment" presented by the picture. In aesthetic activities, due to the different ways of integration of subjective psychological factors and objective factors, the realm of formation is also different. Any artistic work constructs its own image and situation with the help of specific artistic language and artistic form. Just as China's traditional art attaches importance to "attachment to things" in its creation, that is, it emphasizes that art should express the author's subjective feelings, seek the spiritual unity between the author and the object of expression, and achieve the realm of unity of things and myself. Similarly, in the oil painting landscape, the artistic conception can also be expressed through tone.

References:

[1] Sun Ying. Study on landscape painting. First edition. Jinan: Shandong Fine Arts Publishing House, 2006.

[2] Wu Guanzhong. The scenery of life. Beijing: October Literature and Art Publishing House, 1998.

[3] (English) Clark (K). On landscape painting. Translated by Lu Peng. First edition. Chongqing: Sichuan Fine Arts Publishing House, 1988.

[4] Zhu Xiaogang. On the expression of color tone in landscape oil painting. Grand view of art.2008.03.

[5] Tian Yuling. On the application of color tone in painting. Puyang Institute of Education. 1996.02. ;