| From the beginning of the Middle Ages,the "text reading" era entered the "image age",all kinds of "machine images" are full of people’s lives,although the contemporary art occupies the main position is still painting,than painting and image combination more possibilities.In the era of network digitalization,the image resources and information transmitted by digital machines are spread in various ways-computer,TV,square electronic display,mobile phone,etc.thus as a result image resources have a tendency to image and culture development;the artist who re-emerge from the marginalization of painting,in parallel with many other forms of aesthetic expression on an equal footing,engage in painting art in the new environment and can self-examination and redefine their own limitations.So that the painting is no longer a defensive,marginal.A new era of the identity of the artists is not only engaged in easel painting painters,identity from other art,like photography enthusiasts,film editors learned the skills of absorbing nutrition.In the rapid development of new media today,the artist has no objective reality to describe the reality of reality,do not need to understand the internal structure to the external representation to describe the object,and pay more attention to the use of life in the existing image Express their ideas,ideas.Their paintings and the times are synchronized.Here,research for the Belgian artist Luc Tuymas,because he dared to face the dilemma facing the painting,the era of the proliferation of images,his mass media,work in the film and television industry for a period of time,let him have more The means of contact with the image,and even the subsequent digital images,these images of the experience of shooting is applied to his painting.This chapter is divided into five chapters: the first chapter is the introduction--it discusses the background and the original;the second chapter is about Luc Tuyman’slife be discussed,and the reason about his painting characteristics and he switched to the film industry,and why he eventually returned to the art of painting;the third chapter is the focus of this article focuses on the introduction of film language,about Tuyman’s works is how to show the film language,and Tuyman uses the film language depth on the expression of the purport of the works the emotional expression and the connotation of the works;The fourth chapter is to talk about the film and television language with his own creation,through studying the Tuymans painting to learn how he borrowed the film and television language,at the same time can also be from the practical point of view to guide their own how to face the current artistic context,the art of creation;the fifth chapter is a summary of discourse,for.Visual language in the use of painting,can not be passive by the technology media,to find the relationship between the two,common,taking into account the characteristics of the painting language itself.Through the collection of literature research and analysis of personal experience and artistic features,and then works from the atlas and related exhibitions reported records,combined with the relevant video books,how to use visual language and reasonable in in painting creation.In short,the artificial intelligence of the network,human dependence on the power of technology is more obvious,but the painting is not the expression of the artist the painted objects have much like painting,but show the man in the face of future and review the history of the profound significance,therefore,whether it is photography or film and television media,advanced the computer software can replace people with a paintbrush in their true feelings of the world,to express their inner desire and achieve on other exchanges. |
