Analysis Of Light,Shadow,and Color In Western Oil Painting Still Life

In painting,the role of light cannot be ignored.The author realizes the importance of light to the picture from the practice of still life painting,so I extract light from it as the central factor discussed in the article,combine theory with practice,and think about the performance of light,shadow,and light color in still life oil painting in practice.In the first chapter,the author describes the expressive power of light in Western painting,mainly from the objective and spiritual aspects of light.The whole chapter is divided into two sections.The objectivity of light in the first section is reflected in the influence of optical research on the field of art and the characteristics of the artist’s application of the characteristics of light to paintings.Because this paper takes still-life painting as the research object,and still-life painters often paint indoors,the author makes a simple comparison between the stability of indoor light and the fluidity of outdoor light.The second section embodies the spirituality of light symbolized in religious paintings and how the artist uses light to express the picture.The second chapter discusses “light and shadow”,“light color” and the stylization of still life painting.From the perspective of the historical development of still life painting and the perspective of the artist’s style,the author analyzes the performance of light and shadow and light color in still life painting.The whole chapter is divided into three sections.The first section explains that light and shadow produce light and shade.Taking the solemn light and shadow in Rembrandt’s painting,the warm light and shadow in Vermeer’s painting of the Dutch painter,and the deep light and shadow in Chardin’s painting as examples,it reflects In the classical era,the light was expressed in the artist’s artistic creation in the form of light and shade.The second section explains that light color in the modern sense means that the artist reflects light through the difference in color.Taking the external light color in the pictures of impressionist painters represented by Monet,the rational light color in Cezanne’s pictures,the recalled light color in Morandi’s pictures,and the plane light color in Katz’s pictures as examples,from different paintings styles,we can realize the power brought by color,that is,the sense of light produced by the color collision.The third section is about the beauty of the interweaving of“light and shadow” and “light color”.Although the light produced by light and dark is emphasized in the two historical stages and the light produced by color contrast is different,from the time node of historical development,light and shadow are different from light and shadow.There is also a close correlation and complexity in a light color.One is the generation of light with modern meaning in the era of light and shade,and the other is that there is a non-negligible nature of light and shade in a modern light color.Due to the inheritance of artistic concepts,light also shows a diversified tendency in the individual painting styles of contemporary painters.The third chapter describes the author’s thinking triggered by light in the creation of the still life series “Flowers·Painting”.The discussion mainly focuses on the relationship between painting objects and light,the contingency and regionality of scene arrangement,and the painting attempts with light as the starting point.