From "Fragment Snapshot" Of "New Generation" To "Cruelty Youth" Of "Later Generation"

Oil painting is one of the visual artistic forms. In the history of western oil painting, many representatives of various kinds of schools appeared in the painting circles with their innovational spirits during their period of youth. Oil painting, as exotic, was introduced to China in Qing Dynasty. In the history of Chinese oil painting, a great deal of artists select the drawing related youth. The present thesis intends to find some trace about youth painting through the summary and the concrete exemplification of the characteristics of youth painting in the development of western and Chinese oil painting.In Chinese contemporary art category, great changes have taken place in both social context and education model which artists received. During the 1980's-1990's, China was in the state of modernization transformation, there has great change in people's material, spirit as well as behavior way accompanied by high speed development of economy. To some extend, artwork is a concrete reflection of mental environment of artists toward social environment."New Generation"and"Later Generation"are two groups of young artists appeared in 1990s. Painter Liu Xiaodong and Yin Zhaoyang are the representatives of them."New Generation"appeared in 1980s-1990s. Painter Liu Xiaodong paid much attention to topics of youth. Critic's concerning of Liu Xiaodong origined from painting exhibition of"New Generation". They regarded him as representative of"New Realism"or"New Academism"."Later Generation"appeared in 1990s, at that time, market economy has been established. During the period, city consumption culture had taken shape and the previous ideology was disintegrating, which made great gap between young artists and elders. Among them, many artists including Yin Zhaoyang also chose the theme of youth, concentrating on the living state of the youth.The author attempts to employ the method of comparison to analyze the different standpoints and choices when Liu Xiaodong and Yin Zhaoyang face the theme of"Youth". Chapter One explores the main characteristics of painting related to youth in western oil painting and the manifestations of Chinese realistic oil painting,"native soil oil painting"and "scaur"painting since oil painting was introduced to China.Chapter Two describes the two groups of"New Generation"and"Later Generation"in Chinese contemporary oil painting and elaborates the different social environment, problems and the choices of painter Liu Xiaodong and Yin Zhaoyang.Chapter Three discusses the expression of youth with"fragment"used by Liu Xiaodong, while Yin Zhaoyang prefers to depict youth with"cruelty". In the language selection, Liu Xiaodong insists on the patterns of"academism"with some modificaions, while Yin Zhaoyang endures a change from realism to expressionism and in the end he returns to reality as well as analyzes this subject regarding oneself in the creation process influence.Based on the different choices and emotional expressions toward youth painting, the author draws a conclusion that Liu Xiaodong and Yin Zhaoyang have the different standpoints when they face"Youth".