An excellent oil painting should not only have outstanding expression of shape, color and light, but also have aesthetic feeling in texture. Oil painting experts are mostly people who are good at mastering and controlling texture. Texture directly conveys the artist's psychological feelings and affects the appeal of the work. Therefore, many artists attach great importance to the use of materials and techniques in the process of oil painting, and pursue distinctive muscle painting characteristics, giving people different aesthetic pleasure. Since texture can be used to express the truth of things more truly and make it the language of oil painting, there is no reason for us to refuse to study and apply this language and constantly study the possible performance effects of various substances. As one of the contents of oil painting expressive force, the texture of oil painting is presented with the pursuit of its aesthetic feeling by artists in various periods. In traditional classical oil painting, transparent painting, also called indirect painting, is widely used. When artists in this period pursue the texture of oil painting, they mostly control the texture in subtle differences, so that the texture is unified in transparent oil layers and uniform luster. With the development of oil painting technology, Titian, a painter of Venice School, improved the transparent painting method based on thin dyeing. He changed the smooth texture of oil painting, painted the bright parts with heavy ink, sketched the outline with oil paint directly on the draft, and then covered it with transparent painting after heavy ink and characterization, thus achieving the overall coordination and unity of light and color, forming a texture with uneven thickness of light and shade. The fusion of oil painting charm and texture produced a rich and unique charm. In the history of western art, Rembrandt perfectly integrated the color and brushwork of oil painting into the texture, which made the texture of oil painting best displayed. On the basis of Tampere, he adopted the oil painting technique of combining transparent cover dyeing with opaque modeling. The texture, color level and brushwork of the picture are clear and powerful, and the picture is colorful, which makes his oil painting more attractive and artistic. Both realistic and abstract painting techniques are rich in texture, which is not only widely used, but also has great plasticity. In the oil painting of direct painting, the texture effect pursued by the painter is another scene. Most of the landscape paintings made by impressionist painters are on the canvas with coarse lines on a white background, with thick and direct painting methods, rhythmic strokes and spots, forming a rough and wall-like painting muscle feature different from the surface of classical oil paintings, opening up a new field of oil painting texture beauty. By the end of 19, western oil painting had undergone fundamental changes. The narrow artistic function and comprehensive realistic techniques of traditional oil painting have reached the high saturation of its own system, so it tends to disintegrate in the changes of philosophical concepts and artistic concepts. The artistic creation principle of oil painting is no longer to imitate and reproduce nature. The artistic image of oil painting freely constructed by artists is regarded as a new reality. The texture of oil painting is used as a medium to express their spiritual and emotional world, and works are constructed through imagination, fantasy and other methods. In the past hundred years, western modern oil painting schools have come and gone. As long as oil painting tools and materials are used as modeling media, artists can create arbitrary oil painting faces and make different textures to express their works. This unique expressive vocabulary adds a strong artistic charm to the picture. However, the painter should not make a big fuss about texture for the sake of texture, but should take texture as a modeling element and a means to shape a distinctive artistic image and express emotions. It is the painter's responsibility to explore the ontology language of oil painting. How to use painting language is the embodiment of a painter's ability. As a natural language, painters should learn to control it, strengthen it and make it a personalized language. From the perspective of painting language ontology, art materials, as a cultural breakthrough, have gradually evolved into material art since19th century. Before that, art materials were the materials and technical carriers to realize the aesthetic system of plastic language or color language in painting, so artists naturally put the research on the laws of material language on the metaphysical level. With the appearance and development of modern art, especially the rapid development of modern science and technology, it has opened up a broad road for new materials and created good conditions for the reform and application of these new materials and technologies. At present, many artists and educators have turned from paying attention to the application technology of materials to studying the self-significance and humanistic value of materials, that is, from micro-grasp to macro-grasp. Material art has been strengthened and promoted to the main position of artistic language, becoming an important form of people's direct thinking and dialogue, realizing the natural aesthetic value of the material itself and the artist's conceptual value. Oil painting rose during the Renaissance. At that time, people used three-dimensional and diverse oil painting materials to express their great enthusiasm for nature and humanistic spirit. Later, it gradually formed brilliant achievements and formed the most important thing as the expressive force of oil painting. It can be said that in classical oil painting, the use of oil painting materials is only a means to serve the purpose of reproduction, and its independent character has not been really valued. Theme, content and theme are much more important than the painting materials themselves. But from the development history of oil painting, it can be said that the appearance of new materials also means the development and progress of oil painting. Many of the works of European masters we know are still so colorful and intriguing after centuries, which is inseparable from the use of materials and the treatment of techniques. Matisse once said, "The first thing I try to achieve is expression, but a painter's concept should not be divorced from his means of expression and the use of materials, because this concept can only be effective with the support of various means and materials." The deeper the thought, the more complete the means. "This shows that oil painting materials are closely related to the works themselves. Usually, the real experience of materials can be realized by touching, which has nothing to do with visual sense. However, experience tells us that once the eyes look at the appearance of the surface structure of the material, they can associate and feel the actual touch. Because the appeal of picture materials is also based on human vision, the selection and use of picture materials can make the works have different sense of form and visual beauty, thus making the works readable. Under the influence of Greenberg's theory, abstract expressionism brought the materiality of materials to the extreme. Pollock sprinkled the paint directly on the canvas, while Roscoe spread the paint evenly, which made the material characteristics of the oil painting materials more fully exposed. Other modernist painters also put sand, sawdust and cloth in order to pursue the visual stimulation of the picture. Make the surface of the picture have a strong touch. It can be seen that the painter's use of some painting materials and techniques, in a certain sense, contributed to the painter's unique style of work, so that the work has a complete aesthetic value. Nowadays, under the mutual infiltration and influence of various painting disciplines, oil paintings will be more widely used in their works. Therefore, it is of unique significance to attach importance to the relationship between oil painting materials and works, and to build the exploration of personalized artistic language on the basis of the comprehensive application ability of understanding, understanding and selecting the expressive force of materials, so as to continuously enrich and develop self-artistic language.