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新科技、新材料和新的一代人的成长与社会发展的需要,对工艺美术和艺术事业的前进提出了新的要求和新的实践希望。把握这个时机并参与其变革是当代艺术家的责任。这是一个不以人们意志为转移的客观规律。我们自己都有各种各样的适应变革的体验,70年代中期为北京饭店壁画而尝试无光油画的材料,我们曾经采用松节油加醋的调制方法,吴冠中先生当时作了大量的试验,其结果仍然是不理想的。后来专门拜访智利画家万徒勒里先生,他告诉我们西方新研制的化学颜料将会解决这一困难,实际上这就是 ACRYLIC(丙烯色)。我记得当时曾与吴先生一起拿了几支样品到天津美术颜料厂联系试制,若干年后终于生产成功。到79年首都机场用丙烯颜料画壁画时,我们还没有画后喷涂的保护剂,但今天无论采用 GLOSSMEDIUM & VARNISH(光泽媒介喷涂剂)还是采用 MATTEMEDIUM(无光媒介喷涂剂)都可以任你选择了。无疑我们都是新科技新材料的受益者,它为艺术生命的延续、发展、保护提供了条件。
New technologies, new materials and the needs of the new generation of people for growth and social development have put forward new requirements and new practical hopes for the advancement of arts and crafts and the arts. It is the responsibility of contemporary artists to take this moment and participate in its transformation. This is an objective law that does not depend on the will of the people. We all have a variety of experience to adapt to change. In the mid-1970s, we tried matte painting materials for Beijing hotel murals. We used the modulation method of turpentine and vinegar. There were a large number of experiments conducted by Mr. Wu Guanzhong at the time. Still not ideal. Later, he paid special visits to the Chilean painter Mr. Välligurie. He told us that the newly developed chemical pigments in the West will solve this problem. Actually this is ACRYLIC. I remember when I took a few samples with Mr. Wu to Tianjin Art Pigment Factory trial production, a few years later finally produced successfully. We did not have a paint protector at the Capital Airport when painting murals with acrylic paint, but today you have the choice of using either GLOSSMEDIUM & VARNISH or MATTEMEDIUM It’s We are undoubtedly the beneficiaries of new scientific and technological new materials, which provide the conditions for the continuation, development and protection of artistic life.