This thesis focuses on the composition in oil painting,analyzes its influence on the form of the picture,and analyzes the characteristics of composition in contemporary oil paintings.Firstly,it takes the introduction of the concept of "composition" in art history as a clue to explore the inner meaning of composition,take into account the development and changes of composition in oil painting,and analyze the connotation of composition in oil painting.Secondly,the composition characteristics of oil paintings in contemporary context are analyzed from three aspects: image language,abstract elements and material materials: Firstly,with the rapid development of image making technology,oil paintings give full play to the reproduction function of images,reconstruct the image language and give new connotation to the works;secondly,the distillation of abstract elements in the picture is the result of the artist’s observation under different perspectives,which requires the artist to make reasonable construction to create an artistic image that can convey the inner emotion generated;third,from the development of material materials,analyze the generation and use of material language,and explore the material materials in the picture.Finally,through combing and studying composition,the author’s creative practice is analyzed in terms of observation and conception,composition and integration,and creative perception,and attempts to explore and practice composition activities in various aspects from the expansion of perspective,the handling of materials,the organization of the picture,and the selection of materials,with a view to applying them in future creation.In terms of creative process,composition is both a modeling concept and a way of thinking.Composition is of great significance to the construction of a picture,and painting as a visual art,excellent form can clearly convey the intention of the creator.Therefore,the author explores composition,aiming to cultivate the logical consciousness of constructing the picture and transmit the spiritual world in his heart by relying on his own creative practice in the current context of painting development. |