From Perspective Space To Physical Space

When the brush touches the canvas,the problem of space arises.This paper mainly analyzes and discusses the space problem in painting,and thinks that the problem of space is not only the representation of subject consciousness in painting media,but also the formation of observer technology and visual mechanism.Practices and theoretical studies of space around the art history are often the motifs of painting.It involves not only styling awareness and observation methods,but also the underlying concepts and viewing changes.So how to deal with the issue of space in traditional painting,how to deconstruct the space in the early stage of modernism,and how to make the painting come out of the past space in the late stage,as a clue.The first chapter of this article starts with the medieval and Renaissance perspectives,The painter attempts to construct a space with humanistic consciousness,and the topics in the later stages of painting are constantly deepened and enriched,and a set of illusion mechanism formed around "reproduction" is constructed.The second chapter mainly starts with the stage of modernism going out of reproduction and the starting point of "self-discipline",in which the narrative of modernist painting is completed by Impressionists to Greenberg,forming a more independent space consciousness different from the classical period.Its main form of expression is the constant compression of space until the plane of regression,the two-dimensional planarity of painting as its central distinctiveness of other arts.The third chapter mainly focuses on the space of painting in the later stage of modernism.How can we really come out of the illusion and move towards a space that is related to "physical property" and reality? The artistic practice thus started disintegrates modernity from a certain angle At the same time,it also liberated painting.Mainly involved in the art of minimalism in the United States,the Italian space-based painting,the United States the new Dada and Japan's "material school." The fourth chapter is mainly divided into two aspects.The first one is to bring the angle of viewback from western painting to the actuality of contemporary Chinese art practice.The main points of this study are to analyze the "physical" and "physical" space of his paintings with Ma Shuqing and Wang Guangle as their examples.On the other hand,it mainly focuses on individual painting space experiments to think and analyze.Based on the understanding and research on the western painting space,the space problem of the painting is the theme of my creation,and the space performance of the painting is expanded on the basis of the predecessors.The automatism and perception generation of the perception and the physical space of the subject have been Try the direction.Based on the time line in the history of art,this article starts from the Western Renaissance in which the art of painting was flourishing and settled in the practice of Chinese contemporary painting.The main nodes and figures of the related space and painting in this time clue are extracted,Genre,theory and practice.Finally,combining the thinking of spatial development clues in the painting art with the personal creation,the paper aims to explore beyond the direction of the modernist painting and expand the new possibility of the contemporary development of the painting.