Impression of Contemporary Oil Painting Creation

It is only the attempt of some artists to use modern western Large Abstract Paintings forms to express primitive life interest and ancient culture. More painters still get creative inspiration from modern social life and painters’inner experience. Their works absorbed traces of modern schools in form are not very prominent, nor belong to the type of classical oil painting, and are obviously different from the “realist” painting used to be. The difference between them lies in the implicit expression and the hazy mood. This kind of implicit, indirect and polysemous expression is accepted by more and more artists, even with different artistic styles, and has become a fashion. If the past Chinese Large Abstract Wall Decor were compared to narrative, shouting and slogans (slogans are not derogatory words, they are different from slogans), there are now many “untitled music”, “song without words” and “poem without title”. Titleless and wordless are not artists who have nothing to say, not indifferent to nature and life, but use indirect and implicit forms to express the painter’s impression and emotional evaluation of life. These Large Black and White Art do not give the audience hints or “guides”, but only a situation, a visual hint, sometimes just meaningful silence. People’s interest in Wei Qimei and He Duoling’s works in recent years is precisely because their works often have multiple meanings. Faced with such Large Modern Abstract Art, we can experience the spiritual inspiration brought by exploration and recreation.

The obvious increase of abstract and symbolic factors is another noticeable trend in the current oil painting creation. Abstract and symbolic factors have always existed in oil paintings in the past, but in recent oil paintings, in addition to the works containing abstract and symbolic factors in the past, there are also some purely abstract and symbolic paintings. This development can be observed from the changes of Cao Dali’s creation in recent years. Huangshan in 1978, Light of Spring in 1980, Mushroom Cloud, Windmill and Magnetism later. From capturing the beauty of form and color in natural scenery to abstract treatment of space environment and decomposition of natural objects, the painter’s feelings towards the world and himself are expressed by pure colors, lines and surfaces, and the audience is no longer moved by natural objects. This process of change is generally consistent with the process of modern abstract painting. However, Cao Dali and other Chinese painters who create Large Handmade Abstract Art do not completely cut off the link between their works and real life. Not only Cao Dali’s “boat” is full of youth memories and fantasies, but also Zhang Liguo’s “Silver Light” and Yang Yao’s “Seam” retain the light and shadow projected by the real world. From the artist’s personal point of view, Chinese oil painters are both concrete and abstract. This may be the alternation and intersection in the process of development, or it may be the attitude of Chinese painters towards the form of painting, which is not always as paranoid and absolute as Western painters.