论文部分内容阅读
中央工艺 美院副教授、 青年油画家李 木(原名李睦) 是吴冠中的学 生。他发现, 为了画出树的 细枝,吴冠中 创造出两种方 式:一是把宽的油画笔侧过来在底色上横向竖摆,一是干脆把油画笔颠倒过来用笔杆划开底色露出画布,那墨绿色块上切开的白线鲜亮地展现细树枝的柔韧坚挺。 谁说油画里没有刻线?吴冠中的油画里就有！不过这样的线他只是偶尔用之,在油画中不占主导地位。李木十分喜欢吴冠中具有中国画韵味的表现性油画。然而怎样才能像吴冠中那样把鲜明的大色块和流畅的细线结合起来,而又走出吴冠中大树浓荫的笼罩?
Associate Professor of Central Academy of Fine Arts, young oil painter Li Mu (formerly Li Mu) is Wu Guanzhong students. He found that in order to draw the twigs of the tree, Wu Guanzhong created two ways: First, the broad oil brush side came in the background vertical vertical pendulum, one simply put the oil pen upside down with a pen to open the bottom color exposed Canvas, the white lines cut on the dark green show vividly the soft firmness of the twigs. Who says there is no engraving in the painting? Wu Guanzhong’s painting there! However, this line is only occasionally used, not dominant in oil painting. Li Mu is very fond of Wu Guanzhong’s expressive painting with the charm of Chinese painting. However, how can we, like Wu Guanzhong, combine the distinctive large patches of color with the smooth thin lines while stepping out of the shadow of Wu Guanzhong’s tree?