The concrete realism of "expressing" feelings attaches great importance to objective authenticity, but it is not limited to presenting this authenticity completely. The beauty of art comes from life, but it is also an exaggeration and promotion of life. The so-called expressionist style is to grasp one or two most idiosyncratic points in concrete, exaggerate and deform according to the artist's understanding, and at the same time respect the objective things, rather than being completely abstract. This form of expression fully combines freehand brushwork with realism, and at the same time gives figurative oil painting more creative and imaginative space. Speaking of expressionism, we can't help but say Xin Dongwang, a contemporary neo-realism painter. Some people say that Xin Dongwang's works are new realism, while others say that they are new realism. I won't say what kind of painter he is. From his works, we can easily see that he was created in the form of realism. And have certain performance skills. Someone once knew Xin Dongwang like this: "It is gratifying that he skillfully found a fulcrum-the fulcrum of realism and expression." With his unique brushstrokes and colors, he vividly displayed the characters in China's "great events" and vividly displayed them on the canvas.

Second, the regional characteristics of China's figurative oil paintings

(1) Beijing School of Painting-New School of Realism Beijing is the capital of China, the center of culture and economy, and of course the center of painting art. There are top art colleges and research institutions in China. In the early 1990s, China's oil paintings mainly focused on the nationalization and techniques of oil paintings. When everyone was discussing how to express contemporary artistic thoughts, the emergence of "new generation" painters represented by Liu Xiaodong quickly adjusted the artistic structure at that time and quickly replaced it as the mainstream art at that time. Every time a new artistic trend of thought appears, it will be different from the current artistic pattern, even a big collision of trends of thought, and so will the emergence of the new generation. Under this background, young painters in 1970s and 1980s stepped onto the front of art, which opened up a new trend for the direction of artistic creation. They rationally treated the confused contemporary art at that time and reformed their creative methods with their own personalities, adding vitality and vigor to the new figurative oil painting. They have the same personal feelings-feeling reality, expressing reality, and choosing the most realistic people and situations around them to express their real feelings. They express their inner feelings in a relaxed and ridiculous way. They see everything easily and are no longer bound by "tradition". The representative figure of this era is mainly Liu Xiaodong, and some "cynical realism" painters are also very representative, for example, their strength is equivalent.

(2) Northeast-Northeast painters are represented by "Lu Mei", mainly from Lu Mei. Compared with other early schools, the thoughts of Northeast painters are relatively low-key and conservative. At the very least, they are not so "cynical" and have been concentrating on the development trend of their painting language. It was not until 1989 that "Lu" began to emerge and formally entered the historical stage of contemporary oil painting in China. Northeast figurative oil painting as a whole can be summarized as a simple and profound sense of the overall situation, with unrestrained temperament, distinctive personality, dignified brushwork, vigorous and powerful works and strong sense of form, mainly represented by Wei, Liu and Gong Wei.

(3) Zhejiang School and Lingnan School-Modern Language and Urban Culture Zhejiang School mainly includes a group of young and middle-aged painters with Hangzhou as the center, and Lingnan School is mainly represented by Guangzhou painters. Their creative styles and concepts are similar to some extent. The development of artistic creation is closely related to the progress of economy and society. After the reform and opening up, the rapid development of southern cities has also brought many cutting-edge ideas to artistic creation. Artists in these two regions are not satisfied with the classical expression, but pay more attention to the value system, painting concept and artistic perspective of modern society, which greatly enriches the language of modern new figurative oil painting.

Third, the new trend of China figurative oil painting

When the post-90s artistic creation mentions the development direction of China's figurative oil painting, we have to pay attention to this young group. In the process of their growth, there is no shortage of materials, the influx of western culture, the rapid development of science and technology and the internet, and the emphasis and pursuit of self and individuality. These new features have injected new vitality into the development of figurative oil painting. From the teaching work in recent years, the author found that despite their own problems and defects, their painting creation often shows bold thinking and unique innovation, which is inextricably linked with their living conditions, thinking patterns and emotional factors. From their works, they often show the following elements and situations:

(1) Loneliness and stress The growing environment of the post-90s generation is noisy and lonely, and the colorful external world is in sharp contrast with the distance between its predecessors and people. A philosopher once said, "A true artist is lonely." This mentality, coupled with the ups and downs of the society at the beginning of adulthood, has brought great emotional impact to these new painters. In their paintings, they often show the pressure, anxiety and challenges given by life.

(2) Pursuing uniqueness On the other hand, they have high expectations and longings for life, which has a great influence on the painting language and image they choose. They are not satisfied with just describing the appearance of objects, nor do they want to completely imitate other people's creative techniques and styles. They like to express their favorite things or ideas to the maximum extent in their paintings. Although some of these works are not mature enough in composition and expression, this green spirit of pursuing innovation and courage to express is the most valuable.

(3) Love beauty and seek solace from works. Free and fashionable post-90s are born with the ability to pursue beauty. They often have a cold appearance, but they have irresistible enthusiasm for what they love and the beauty in life. And such enthusiasm, they are very eager to share with others. And the brush has also become a tool for unsociable post-90 s painters to pour out their hearts. The longing for the future, infatuation with fashion, longing for love and even endless fantasies have all become beautiful images in their hearts. These mixed elements about the past and the future, reality and imagination, once they constitute stimulation, can stimulate their great creative inspiration. From their paintings, we can vaguely see their beauty, which may simply come from a flower in childhood memory, a description in a book, an episode in a movie, and even a vague figure in the rain ... Their creations also have some shortcomings, such as being influenced by fast food culture, and their creations are too pursuing the color and expression of appearance and lacking in connotation. Moreover, while publicizing personality, the details are insufficient, which makes the work appear impetuous. In teaching, the author has repeatedly stressed that if you want to create excellent works, you must have a solid painter and pay attention to inner enrichment. Mobile phones and the Internet can only bring one-sided information. The study of famous paintings and masterpieces can really enhance our artistic conception. The essence of the challenge faced by these new generation painters is how to skillfully combine classic tradition with modern innovation and perfectly integrate their own ideas with specific descriptions. V. Summary Under the background of today's rapid development, the development of figurative oil painting also presents a diversified trend. On the one hand, new elements and ideas constantly impact the artist's creation, providing more materials and space for the development of figurative oil painting. On the other hand, the development of science and technology and the disadvantages brought by fast food culture have also adversely affected the development of the new generation of painters. Some people began to pursue expressiveness and uniqueness too much, but neglected the study of classical techniques and traditional painting methods, and their works showed a single and empty state.

Four. abstract

The development of the times will inevitably bring the impact of culture and values, but the big waves and the impetuous ambiguity will be washed away, and what will eventually settle down must be a classic that can infect people's hearts and is really rich in connotation, which is exactly what our figurative oil painting creators are pursuing. I believe that in the vast space of contemporary China, artists will have broader horizons, more advanced concepts and more adequate cultural literacy, and the road ahead of China figurative oil painting will be broader!