The Rational Spirit In Euan Uglow's Paintings

After the industrial revolution of the 1860 s and 1840 s,the United Kingdom experienced economic prosperity and rapid technological advancement.At the beginning of the 20 th century,Western modernist art appeared in various cultural trends and artistic schools.Traditional paintings that simply imitated nature and objectively reproduce nature were gradually replaced by artistic creations that emphasized the artist's own emotions.Artists no longer follow the traditional aesthetic value orientation.The art norm style is more conceptual,abstract,and diversified.Art has moved from simplification to inclusive diversification.There have been a large number of outstanding masters of art,Cézanne,known as the "father of modernism",Picasso of the Cubism,and Matisse of the Fauvism,etc.,in the era of constant changes in the world environment,Eun Ergro The artistic stand is firm and humbly learns from the older generation,constantly absorbing the essence of the artistic creations of the predecessors such as Cézanne and Picasso,and at the same time not blindly following the trend,and then inheriting the traditional rational spirit while integrating modern expression techniques and combining their own advantages to form a unique style.The beauty of art forms,the success of artists such as Francis Bacon and Lucian Freud,also influenced a large number of young painters.In the works of Eun Ergrow,the pursuit of rationality,balance,stability,simplicity and other elements of harmony and unity,constantly adjust the relationship,advocating the classical and quiet,noble and eternal,simple and quiet,solid monumental style,life is never tired The pursuit of persistence not only traces back to the early ideas of the Renaissance,but also traces the rational spirit of ancient Greek art.This thesis analyzes the following four parts in depth,and analyzes the artistic spirit behind it from the cause of Eun Ergro's paintings.It is powerfully illustrated by examples and finally extended to the deep enlightenment and influence on the development of Chinese oil painting.I hope that through this more comprehensive and in-depth study,I will deepen my understanding of the spiritual concepts,the formal language and artistic charm ofEun Egero's paintings.The first chapter first sorts out the collected data,and then through the previous topic selection and collecting data to organize the data,then conduct a literature review to know whether the research of the plate is saturated and whether it has research value,so as to carry out the main direction of this paper.The main content,focusing on its innovation point,began to expand according to the outline of the paper.The second chapter discusses the cause of Eun Erglo's artistic style,and briefly introduces the artist's biography and artistic experience,the external factors under the influence of the great era and other artists,the internal factors of his own talent and diligence.Many factors have finally achieved the unique artistic style of individuality.The third chapter analyzes the "rational spirit" interpreted by Eun Ergro's paintings as a chapter of the past and the down,by combing the rational spirit in Western painting and the history of Western art development.The rational spirit in the spiritual connotation that runs through,the rational thinking and rational spirit that are gradually revealed in Eun Ergro's paintings,the progressive research and analysis at the same time,and also the dialectical thinking of the reverse thinking in the small and big way.Through analyzing the artist's motives,painting methods and performance content,he explores the inheritance and continuation of the deep spiritual connotation behind his works.The fourth chapter is the main content of this paper,which mainly expounds the practical significance of Eun Egero's paintings.After analyzing and comparing,it summarizes the spiritual connotation of the main thread of the development of Chinese and Western art history,and simply combs the history and influence of Western painting in China.The development of Chinese oil painting and the deep enlightenment of Chinese oil painters should not abandon the inner spirit of the rational spirit in traditional painting.They should not be attached to the superficial stylized form of glitz.They should establish themselves from the middle of nature under the impact of realistic painting.Instead of simply imitating is not popular,not copying objects,etc.