On The Change Of Artistic View From Lopez 's Concrete Painting

The dissertation analyzes and expounds Antonio Lopez Garcia’s(1936--) pursuit of the artistic creation, who is one of the contemporaryfigurative painters in Spain, commencing through the point of the paintingmethodology. The thesis focuses on comprehending how the painterapproaches to the “being of realism” through the deep study on the severalelements of “private space”,“time”, and “visual perception of intuitionand clarity”, as well as the methods of displaying his format; observes theRealistic view of Representational Painting, together with itsdifferentiations from that of the traditional Realistic Painting from theprocess in which the painter “experiences and observes nature, andexplores the image of its pictorial counterpart”–the Realistic view in Arttransforms from the objective Realism into the man-involved ontologicalRealism with the human perception as the prerequisite; through this,anticipates consequently trying to douse the possibilities to sustain anddevelop the Realistic Painting of the new ages, in the times when a varietyof multimedia technology is making an extremely rapid development,nowadays when the current world is overwhelmed by too many images, inthe times after it has been baptized by all sorts of movements such asModernism and Post-Modernism. The dissertation consists of five chapters. The first and secondchapters mainly introduce the contemporary features of Lopez’s figurativepainting, its links to Existentialism with human survival and perception asthe prerequisite, as well as its relationship with traditional paintings.The third and fourth chapters trace how Lopez develops his style offigurative painting, how he forms his concept of painting in his mind andhow he approaches to his pursuing goal “being of Realism”. It has beendetected, by decoding Lopez’s way of painting, how he perceives beingreal—the Realistic view of ontological Realism against which he regardsthe connection between the inner existence of things and human as theexisting reality, and from which the evolution of painting methods isgenerated.Based on decoding and analyzing the “Realism” in Lopez’s figurativepainting, the fifth chapter compares and rethinks profoundly thesimilarities and differences of the art Realism between “Realism” inLopez’s figurative painting and that in the traditional realistic painting,with a final conclusion that the art concept of “Realism” has changed inthe process of the transformation from traditional painting to modernpainting, and in the atmosphere of rapid advancement of various media.The artists’ exploration, like Lopez’s, indicates that a brand new spherehas unveiled before painters at the end of20th century. The re-recognitionand seizure of the concept of Realistic art has become the newcommencement of painting art, also the new motivation by which realisticpainting escapes from the situation with its self-value lost in the era ofimage and will be transported into a completely new one.