A Study On The "un-homely" Of Matthias Weischer’s Painting Language

After the Second World War,New York gradually replaced Paris as a new art center in the United States.Contemporary avantgarde Western art continued to develop in a diversified direction,and its relationship with concepts and technology became increasingly close.This situation has led to the gradual decline of easel painting art.In the face of such difficulties,there are always people who are fighting unyielding,with Matthias Weicher being the main force.As one of the most influential painters of the New Leipzig School of Painting in Germany,in the face of the background of "the end of contemporary art",he still adhered to easel painting,committed to using concrete techniques to express the abstract spirit,drawing nourishment from the supernatural and confused atmosphere of Gothic art,the attitude of Pop art towards art and life,and the pure spirit and boundless enthusiasm of Angelico and Hockney towards painting,Combining the lonely memories of one’s childhood with the panic and anxiety of being at the beginning of the unification of East and West Germany,he uses the artistic expression techniques of "defamiliarization" and "fragmentation" to explore the family space closely related to people,thereby forming a highly personal "non home illusion" style painting language.When discussing the characteristics of "non home illusion" contained in Matias Weischer’s painting language,this article mainly uses iconography,psychology,and philology as the theoretical basis for research,and uses literature research methods,image research methods,and case analysis methods to conduct a detailed analysis of art history research methods,so as to gradually explore the "non home illusion" features contained in his painting language.This article is divided into four chapters: The first chapter elaborates in detail on the origin of the "non home illusion" feature in Matthias Weischer’s painting language,exploring the initial exposure of the "non home illusion" feature in the artist’s painting language from the conceptual definition of "dark terror" and "non home illusion",the imprint of the early unification of East and West Germany,and the artistic expression technique of "hybrid";In Chapter 2,starting from the relevant theories of aesthetics and iconography and combining with a large number of artists’ works,we will deeply study the specific performance characteristics of "non home illusions" in the artist’s painting language,and provide a more comprehensive overview of Matthias’ s paintings from the visual representation of "dark terror",the processing effects of "fragmented" image collages,and "defamiliarization",as well as the highly personalized formal language structure,and the presentation methods of paintings in paintings,Making the strong "non home illusion" meaning in his painting language gradually manifest;The third chapter analyzes the spiritual appeal of "non home illusion" in Matias’ painting language,mainly from two aspects: the repetitive impulse of personal emotions and the suppression and reproduction of virtual time and space.In the subjective emotional narration of the coexistence of "home" and "non home",the spiritual connotation of "non home illusion" is revealed through the reproduction of daily home space;The fourth chapter discusses the significance and enlightenment of Matias’ "non home illusion" style painting language to Chinese contemporary art,as well as its inspiration to the author’s painting creation.The "non home illusion" in Matthias Weischer’s painting language means the fusion of the artist’s personal subjective emotions,historical memory,and modern context,the clever combination of concrete content and abstract spirit,and the creative inheritance and development of Western traditional painting.Artists have always been enthusiastic about using concrete painting to explore the wonderful connection between reality and illusion,as well as the coexistence of "home" and "non home".By presenting the psychological space deep in people’s memories that resembles home but is not home through "ghosting",they have created many works with memories of the times.Studying the "non home illusion" features contained in his painting language has great significance for the development of easel painting,and also provides reference and inspiration for the diversified development of contemporary Chinese art.