出生年份： 1919~年
擅 长： 水粉水彩,油画,国画
毕业院校： 其他学校
| 创作年代 | 1973年作 | 尺寸 | 47*60cm |
|---|---|---|---|
| 材质 | 油画 · 木板^_^ Oil painting on board |
装裱 | |
| 题材 | 所属系列 | 《耕耘与奉献：吴冠中捐赠作品集》在线 | |
| 作品描述 | 上海美术馆藏^_^ Collection of Shanghai Art Museum 如镜子的水面色调变化极为微妙，冷暖倾向难于言传。如色彩单调，则线组织虽完整，也只追随了版画效果而失油彩之特色。胸中已伏龙蛇，但绘画还须从色调开始，先铺色。铺满了油彩的画面难于用色彩勾勒，我多半是用大笔扁侧着将色切入画面，如一经涂抹，翻动了底色，则将无法收拾。在水田中作油画写生，难于找到安插画架的立足点，何况在窄窄的田埂中尚需搬动货郎担式的画架，确乎极为不便。或者索性扬弃水光天色之色彩变化，既避免了油色之滞凝，更着力于发挥线之盘旋与疏密，当又可创造另一番境界与腔调，这便是我经常将油画水田移植进水墨的初衷。^_^ The mirror-like water shows very subtle changes of hues, and its tendency towards heat or cold is ineffable. If colors are monotonous, a complete linear structure would only reproduce the effect of an engraving while eclipsing the features of oil painting. Though I had the conception in my mind, I had to start with the tone. First I covered the canvas with colors. As it was hard to draw the outline with colors, I usually inserted colors with the side of a large brush, for the situation would get out of hand if the ground was disturbed. It was hard to find a place to fix my easel in the paddies. Moreover, it was indeed troublesome to carry an unwieldy easel about on the narrow ridges.Or I might simply refrain from depicting the change of hues in the water and the sky, for in this way I would avoid the stagnation of oil and focus more on the arrangement of lines, in the hope of creating another kind of mood and tone. That is why I frequently incorporated oil painting techniques into ink-and-wash pictures of paddies. |
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出生年份： 1919~年
擅 长： 水粉水彩,油画,国画
毕业院校： 其他学校
展览时间：2005.09.09 - 2005.10.09
展览地点：上海美术馆
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