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Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) Study on the Stylization of Color Language in Landscape Oil Painting Lihong Zhang1,* 1Academy of Fine Arts, Huanggang Normal University, Huanggang, Hubei 438000, China *Corresponding author. Email: [email protected] ABSTRACT As an independent genre in painting, landscape oil painting has undergone the process of breaking away from Western oil painting and forming a complete landscape color system, which is accompanied by the style evolution of color language. Taking the French Impressionism and Russian Itinerants as research object, the paper attempts to clear the development of landscape oil painting with art history as entry point in combination with style and characteristic of color language in Chinese landscape oil painting, highlighting the importance of outdoors painting for landscape color language, as well as providing relevant teaching with theory of beneficial complement and practical reference. Keywords: oil painting landscape, color language, stylization I. INTRODUCTION II. CLASSIC SOY SAUCE COLOR As an independent type of painting, Western The landscape oil paintings in classical period landscape oil painting developed through the classical, mainly serve as background, foiling the theme. The modern, and contemporary periods. At the same time, altarpiece The Miraculous Draft of Fishes by Swiss its color language style has gone through many painter Conrad Witz is generally regarded as the earliest changes. Such transformation is driven by internal landscape painting. Although the practice of painting factors covering the cognition process and combination the landscape in oil paint existed in classical times, it of colors, as well as by external factors including social has not been independent from the form of painting, but and historical background, cultural trend of thought and an accompaniment to the figures. In the 15th century, artist's personality. Stylization of color language landscape that had been background for over a century represents the formation of color language style, which finally came under limelight and won independence. is a relatively stable image or symbol, and also Classical landscape oil painting, whether as indicator of the continuous maturity of artists or art schools. In the evolution process, stylization is background or individual, takes the expression of inevitably swayed by the above factors, but ultimately religious and mythological connotation as the theme, depends on the artist's own experience. It must be noted with clear subjective intention. In The Jewish Cemetery that the style should mirror the creativity and by Jacob van Ruisdael, a representative of Dutch uniqueness of the works and the creator's personality painting, the landscape is not sketched, but painted charm. Only in this way can the works enjoy artistic purely from imagination. The oil paintings of this appeal and the value of the style be displayed. period are of a dim hue, with a heavy hue of soy sauce. Although not painted from life, classical landscapes The French Impressionism and Russian Itinerants, then are based on careful observation of natural scenes. two artistic highlands among landscape oil painting, This can be seen in the way the Dutch landscape painter have wielded seminal sway on Chinese artists. At the used light. They have their own experience of life, but end of the 20th century, the teaching and creation of the light and tone of their landscapes take less account Chinese oil paintings were in a period of wandering or of the objective and real changes in light and color in self-adjustment due to the impact of postmodern art, nature. The light and color of classical landscape and did not take shape until the early 21st century. paintings are subjectively processed to highlight the Considering the complexity of color language style of scene. Such elaborate arrangement stems from their landscape oil painting and the fuzziness of its sketching belief that the artistic expression of light can convey teaching of in logic, this paper intends to analyze the eternal and sacred power, with obvious commercial and formation of its color style from four stages. religious purposes in essence. The emphasis on illumination is a means of artistic expression. However, classical landscape painters Copyright © 2020 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 187 Advances in Social Science, Education and Humanities Research, volume 469 depict their own nature in stylized colors. Influenced by C. Fascination with light inherent colors, they emphasize shape over color. In Landscape paintings by painters from the Barbizon this way, color is only an auxiliary factor, and its school to the Impressionism and Post-impressionism natural attributes have not been studied, which will are imbued with a love of light. As a pioneer of inevitably be replaced by later artistic styles. Therefore, impressionism, Corot Camille took that landscape Wu Guanzhong said, "ancient landscape painting is not painting should be "nature-oriented and sketched from from sketching, but conceptualized images, triggering life". In contrast to the past when painters painted the no resonance. The truly touching landscape begins with dark part of the scene, he made the dark part transparent impressionism." [1] and bright, thus greatly increasing the brightness of the whole picture and showing the effect of air and light. A. Impressionist color Influenced by predecessors and absorbing the research The color revolution of French Impressionism results of natural scientists on light, impressionist marked the beginning of color independence. In the painters fully showed the color changes of objects in 1830s and 1840s, new and revolutionary changes befall their sketches, reflecting the influence of the in European landscape painting. Trying to express their surrounding environment under light on the color of emotions, coupled with the progress of scientists in the objects. The practice of light and shadow by Monet, study of chromatics, painters have begun to refine the "the leader of Impressionism", changed the relationship relationship between color and light. The color between shadow and contour line. The boundary attributes, sense of light and tone are fully displayed in between the two was vague and implicit, making light the picture. At this time, Barbizon School and early and shadow integrated. Monet was fascinated by the Impressionism made landscape painting reach peak, sunlight on the walls of the church, which sparkled with advocating pastoral scenery with French national color as it atomized. It is Monet's unique light and characteristics, and cultivating a large number of shadow processing method that makes his works very representatives such as Miller, Corot, Rousseau, Chuck, distinctive. In the post-Impressionist period, painter Diaz, Dupree and Dubini. Vincent Van Gogh even tried to show the flaming sunlight in his paintings, which turned the region's B. Opposition to classical tradition vineyards into a golden yellow that was set against the purple. The reason why Parisian landscape painters went to Fontainebleau Forest for painting lies in their opposition to long-standing "historical landscape" and D. Pursuit of natural tones break the "realistic" depiction of natural images. The knowledge of natural tones comes from the Inspired by Dutch paintings in the 17th century and diligent practice of Impressionism. The basic theory English paintings in the 19th century, they proposed to and technique basis of color in modern color teaching face nature for painting, believing that "scenery is not system appeared in Impressionism landscape oil only background" and "scenery", and that nature should painting. Color language covering color property, be the protagonist of the painting. The Barbizon artists environment color, hue, and chroma, etc., are presented share the weariness of urban life, the belief in intuitively. Impressionist's use of color is subtle and "returning to nature", the realistic painting style, seeks to exhaust natural tones, as reflected in Monet's especially the acute control, infatuation and prominence Hay Stack, and it is no exaggeration to say that he of light and shadow. It is no exaggeration that without created tones that were impossible even for nature. Barbizon there would be no real landscape painting. Such expression of color expands the research spectrum Landscape paintings of this period play a role of of chromology, returns to the essential attribute of connecting the past and the future. color, breaks the old habit of classical soy sauce covering the picture, and abandons the "ideal landscape Based on the Barbizon school, the Impressionists painting", which has been popular in France for nearly showed a distinct artistic personality. Their life-oriented two hundred years. art creation further get rid of the dependence on history, myth and religion as well as the bondage of traditional In short, Impressionism opened up a civilized virgin painting program of storytelling. They walk out of the territory for art history. Whether landscape image studio and into nature, leaving on the canvas the thinking, or color language logic, Impressionism broke instantaneous changes in temperature of nature, making through
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