A Preliminary Study Of The Flatness Of Pictorial Language In Figurative Painting

In the course of the development of the art of painting,numerous methods,schools and types of painting have emerged,the purpose and meaning of painting varying on the vertical axis of time-the evolutionary process of art history-and on the horizontal axis-the expansion of art by the same generation,which has produced a flat painting style as opposed to a three-dimensional one.For me,this flat painting style is scattered in various painting schools and artists’ paintings and represents different connotations,exuding a unique charm.This essay attempts to investigate the flatness of the language of painting in figurative painting,firstly,to explain the concept of flatness and the process of its emergence,and then to make a brief discussion of the formation and development of the flatness of the language of painting,taking the Nabi school as an example.Secondly,through the special effects that the characteristics of flatness bring to the picture,I include the four characteristics that I have summarised in the language of flatness based on my painting and learning experience: the compression of space,the generalisation of contours,the expression of colour and the simplification of objects.These are the four aspects of planar painting that I consider to be the most important throughout the creation of painting,especially oil painting,and will be analysed in the case of artists in the history of painting.I will analyse the causes of the flatness of painting language in the work of (?)douard Vuillard(1868-1940)and discuss his artistic characteristics in detail.Finally,the significance of the flatness of painting and its influence on my work is summarised,concluding that the exploration of the flatness of painting allows the artist’s own spirit and emotions to be better exploited on the level of the painting form,and makes the picture more formally beautiful.