Although the development of oil painting as an "exotic product" in China is only a few decades, during this period, painters and educators in China have been tirelessly researching and exploring, trying to find a way of China oil painting with their own style. It is not difficult to see that China's oil paintings were deeply influenced by the former Soviet Union in his previous oil paintings, but we can see that it contains the shadow of "Impressionism". However, after the reform and opening up, China's oil paintings were liberated ideologically and accepted the impressionist painting art, which can be clearly seen from the painting theme, techniques and colors. There are countless studies on impressionism in history. The French school of painting, which has developed for more than half a century, plays a vital role in the changes and development of the world painting world, which also makes us interested in Impressionism, especially the contemporary art education in China.

First, the painters before Impressionism and their historical objective factors

If we start with a representative painter of painting school, it may give people a very abrupt feeling. The so-called "getting to the bottom of the matter" may be our greatest feature in China. Therefore, before introducing the techniques and colors of Impressionism and its influence on contemporary art education in China, let's first understand its historical objective factors. Before the appearance of Impressionism, the painter constable was considered as one of the "founders of Impressionism". Because he painted in the wild like many other painters, and France, as the real successor of constable's painting method, was a young landscape painter in the 1930s of 18. Therefore, impressionist painters were indirectly influenced by constable in a sense. What makes wild painting possible? /kloc-in the 0/7th century, many painters prepared their own pigments, or were prepared by apprentices' assistants, each forming a small-scale workshop. In the 18 and 19 centuries, it quickly developed into buying pigments from color makers, because a large number of new amateur painters were unwilling to waste their time doing that complicated and dirty work. This portable hand-held pigment, which was popular in 18 and 19 centuries, also made it possible to sketch in the wild. Another reason is photography. Painters in this period rarely get rid of the powerful influence of photography. In the past, the pursuit of images and objects was completely consistent, and the real idea of creating sketches was greatly impacted. Some painters directly use photos as materials, use them with sketches, and even completely replace sketches with photos; Some painters unconsciously combine camera framing with Japanese painting composition. However, impressionist painters don't need to use photos as the basis, because they insist on sketching, preferring to keep the finished works sketched rather than processing them in the studio. But the most important reason is that in the second half of the17th century, Newton did an experiment in 1666: a ray of sunlight was "refracted" to the white wall of the darkroom through a prism, and a ribbon of "red, orange, yellow, green, blue and purple" appeared on the wall. Thus breaking the old concept of "inherent color" of objects. Draw the conclusion that "color is rooted in light". Based on this, impressionist painters believe that everything in the world has no "inherent color", and the color is not constant under the irradiation of sunlight! They try to express rich and subtle light and color changes, and directly observe the true face of nature with keen feelings. The above three realistic objective factors can be said to be the objective factors for the formation of Impressionism.

Impressionist painting refers to the impressionist painting phenomenon that took place in the second half of the19th century, swept across Europe with France as the center and had worldwide influence. It has experienced impressionism, new impressionism and post-impressionism. Impressionism held the exhibition "Association of Unknown Artists, Oil Painters, Sculptors and Printmakers" in the center of Paris on 1874. This exhibition shows a landscape painting by Monet called Impression Sunrise. Le Roy, a writer, commented on the exhibition, entitled "An Impressionist Exhibition". "Impressionism" got its name from this. The second exhibition was held in 1876, with 20 artists participating. This exhibition simply played the banner of "Impressionist Art Exhibition", from which Impressionism entered the French painting world, spread to Europe and influenced the world.

Quotation: "At that time, many painters in China went to France to study abroad and came into contact with the most advanced impressionism in France. After returning to China, their painting styles and techniques have some impressionist colors. The representatives of modern painters in China are Si Tuleideng's oil painting Ship and Yan's Venetian Scenery. And Li Shutong, who went to Japan to study western painting. His self-portrait, written in 19 1 1, was obviously influenced by impressionism and pointillism. In addition, China people's rejection of western capitalism in 1950s buried the artistic value of Impressionism itself. Most of the artistic creations at that time described the revolutionary struggle and mass life in the new era in a popular realistic style. Critics and audiences judge the quality of works by whether they are realistic or not, and the personalized artistic language of impressionism cannot be reasonably understood. At that time, there was a representative event, namely 1953, when the Central Academy of Fine Arts transferred Wu Guanzhong to Li Zongjin. The choice of these two painters just shows the change of artistic thought and language-Wu Guanzhong actively introduced western modern painting, while Li Zongjin advocated imitating the style of Soviet painters and praising leaders, which has a very distinct political tendency. During the Cultural Revolution, extreme consciousness occupied people's thinking, "that is, the narrow socialist realistic tradition and the equally narrow ultra-left way of thinking". The sketch method based on Che Shakov's sketch system has been popularized, but it has cut off the connection with Impressionism, and its color is monotonous, and its style and creative way still retain western classicism. Its artistic language is single and convergent, which stifles artistic characteristics. In 1980s, China was in the process of reform and opening-up, and Impressionism was once again recognized by people of various painting schools. Faced with the bright colors in front of us, people no longer reject them as before, and China art circles began to seriously appreciate the true value of impressionist art. After 1990s, China oil paintings developed from single realism to pluralistic coexistence, emphasizing individuality and began to try different painting styles. 1993 Zhang Xiaoming's "studio" captures instant impressions by smearing and overlapping traces, which is obviously influenced by western impressionism. 2/kloc-0 at the beginning of the century, impressionist art once again opened our artistic thinking with its persistent imitation of "light"

Secondly, the influence of impressionist painting on contemporary art education in China.

(A) Impressionist painting teaching methods into the classroom

1, impressionist oil painting course arrangement

Many painters in China have been influenced by the impressionist painting form, so it is inevitable that the impressionist painting mode will be introduced into art education in China. As students of the Academy of Fine Arts, we saw that the course of classical oil painting lasted only four weeks in the whole teaching process. However, since junior year, impressionist oil painting has occupied a semester course. This shows that impressionism plays a very important role in teaching. It also shows that Impressionism is suitable for contemporary art education in China, no matter from the application of techniques or colors. On the basis of students' original shapes and colors, improve students' painting skills and color application.

2. The comparison between impressionist painting creation form and contemporary China art education form.

The greatest feature of impressionism is the creative method of directly depicting scenery in outdoor sunlight and pursuing the overall sense and atmosphere of objects in the change of light and color. This has to make us pay attention to the creation of direct description of scenery in outdoor sunlight, which is one of the biggest differences between Impressionism and previous periods.

In terms of impressionism techniques, we will find that impressionism requires the painter to be in direct contact with the subject matter as much as possible, and the painter must see it with his own eyes-not by imagination and memory-and must regard it as a whole, without missing any details or recreating it in the studio. Therefore, the impressionist theme is the world in which the painter actually lives, that is, the scenes, characters and scenery he is familiar with. These scenes gave him a direct instant feeling and moved to the canvas intact. Therefore, in our teaching process, we also advocate sketching techniques similar to Impressionism, requiring students to directly describe the scenery under natural light, while in the teaching process, we generally focus on sketching landscapes and scenery characters, and we are required to get rid of the "photo" sketching method. In a sense, we get rid of the requirements of sketching like classical oil painting and pay more attention to the expression of subjective consciousness. When I was a junior, I didn't advocate full expression. We can see that this method is similar to impressionist creation.

In terms of frame requirements, students are generally required to draw with 40*50 to 60*80 frames in the teaching process at first, mainly because small frames are better controlled than large oil paintings, which is suitable for beginners of oil painting. If the big picture frame like the ancient painting method is not suitable for beginners of oil painting, it will be impossible to improve students' ability to control oil painting pictures step by step. From this we can see that impressionist works rarely exceed 40 inches, most of them are about 20*25 inches, and many are smaller. The key for painters to sketch in the wild is to quickly grasp the instantaneous lighting effect in a small frame, so their works seem to want to sketch the manuscript on the surface. This is also in line with the fact that in the process of oil painting teaching, beginners only need to master the ability of instant lighting effects.

(2) The comparison of impressionist color application and techniques with contemporary art education in China.

1. Comparison between Impressionist Color Application and Contemporary Art Education in China.

Impressionist painters have made innovative contributions to the use of color. When painting, color is especially worthy of careful observation. It is necessary to realize that the shadow itself has color, not just a tone slightly darker than the local color of the object. So in their paintings, the shadow of a tree or a green leaf will also appear light blue. If you look closely, you will find that the change will be close to purple. These color changes come from the painter's personal observation. By changing the taupe tone with the theme of religious mythology in the past, they realized that the dark part or shadow is not a change of black shadow, changed the traditional practice of drawing the dark part with a harmonious single color, and used color dots in the bright part and shadow part. There are different opinions and applications of color, and it is put forward that "an object has no constant color, and the shadows that used to be all dark brown are overthrown and replaced by the complementary color of the object." Due to the function of visual physiology, the juxtaposed color points are transparent, tend to be cold and warm from a certain distance, and form a subtle transition. Impressionism played down the sense of volume of scenery and strengthened the color factor. Impressionism does not rely on light and shade and lines to form a sense of space distance, but on the principle of color light reflection, it uses the warmth and coldness of colors to form space. Impressionist works have never been so vivid, which also shows that color is both comprehensive and pure expression. But from the perspective of optics and dyeing chemistry, although each shadow contains many colors-some of them are invisible to the naked eye. Impressionist painters use the principle of color-light mixing to solve the color problem of oil paintings, and adopt the methods of juxtaposition, overlapping and complementary colors of primary colors. Red, yellow and blue are juxtaposed and sometimes overlapped, and the complementary colors of red, green, yellow, purple, blue and orange are compared, creating new harmony in the strong visual impact. According to the seven colors of red, orange, yellow, green, blue, blue and purple in the solar spectrum, we can reflect the instantaneous impression of nature and observe the color changes patiently and carefully.

For example, Renoir, a French impressionist painter in the 1970s, used the following pigments from left to right: silvery white (lead white), cadmium yellow, Neapolitan yellow, ochre, thick khaki, vermilion, vermilion, Verona green, emerald green, cobalt blue and ultramarine blue. Of course, the pigment he used was not static. Ivory black was widely used in later paintings. Cezanne, a master of post-impressionism, chose more colors, including five yellow, six red, three green and three blue, and also black and white. The subdivision is roughly as follows: yellow includes: bright yellow, Neapolitan yellow, chrome yellow, ochre and thick khaki; Red colors are: vermilion, brownish red, earth red, crimson, magenta and Jiao Hong; Green includes: Verona Green, Emerald Green and Earth Green; Blue: cobalt blue, ultramarine blue and general blue; Black is peach black. Seurat's painting style is similar to that of a scientist, and he is more interested in the choice and arrangement of colors. He arranged the colors in three rows on the palette: the first row, from left to right, was cadmium yellow, vermilion, vermilion, cobalt purple, ultramarine blue, diamond blue, sky blue, emerald green, 1 and No.2 (mixed green) and light cadmium yellow respectively; The second line, from left to right, is: a mixed color of solid color and white; The third line is pure white.

In our teaching process, the coloring methods of impressionist masters are generally arranged from shallow to deep, such as silvery white, cadmium yellow, Neapolitan yellow, ochre, thick khaki, vermilion, magenta, burnt red, emerald green, emerald green, Verona green, khaki green, cobalt blue and so on.

Impressionist painters inspired us not only by the systematic arrangement of pigments, but also by the harmonious use of colors. The first is the harmony of pure colors, and the harmony of color juxtaposition can be achieved by maintaining the high purity of each color. For example, the relationship between the blue and orange blocks in Van Gogh's The Suspension Bridge is based on a certain purity. The upper right part is blue and the lower left part is orange. These two color blocks echo each other in purity comparison. This color arrangement breaks the method of using high-purity notes in classical oil paintings, but it has achieved amazing results. Followed by high-profile harmony. Although Nabi School is a typical representative of this painting. However, we can see that in Van Gogh's work "The Road to Li Hong", the foreground and the middle scene are all high brightness, and the series of lemon yellow, medium yellow, orange yellow and khaki to red are used. Then from blue to green to purple. In our teaching process, teachers also encourage students to use bright colors to describe scenery or people when using colors. Thirdly, it is the harmony of the main color. On the basis of lightness coordination, one color or one color is dominant in strong contrast. For example, the background of "Rejoa on the steps", the faces of characters and the garlands on the heads of children with flower baskets are mainly yellow. There is also the harmony of the same color, the harmony of adjacent colors and similar colors, the buffer harmony of achromatic color and multicolor, the harmony of light source colors and so on. This is very important for our teaching.

Post-impressionism pays more attention to personal feelings in the observation method of color. Because subjective color can best reflect personal style, from the description of natural color to the expression of subjective feelings. In the initial process of landscape sketching, we advocated grasping objective colors and using colors correctly, but we demanded to grasp a larger color tendency, which is the same as the methods used by impressionist painters such as Sisley in landscape painting. Generally speaking, grasping the color of things is also very suitable for beginners of oil painting. This method is very suitable for sketching outdoor scenery. Observe and compare the scenery before writing, squint your eyes to observe the change of light and shade, pay attention to color contrast and distinguish the reflection. In the creative stage, it has risen from the ideal stage to the emotional stage, paying attention to the expression of personal feelings, just as impressionist painters not only pay attention to sketching but also constantly study the influence of light on objective things, thus producing subjective colors. In the process of painting, we also put forward the expression method of "paying equal attention to colors" from the description of natural colors to the expression of subjective feelings, just like Gauguin and Van Gogh. From the enlightenment of impressionist color to teaching, we can also see that it is of great help to all kinds of contemporary paintings, such as watercolor, gouache, advertising design and clothing design.

2. The application of impressionist techniques and the comparison of contemporary art education in China.

In impressionist painting techniques, we inherited the previous techniques. In their oil paintings, we can see depression, patting, rubbing, sweeping, stamping, scraping, pointing, building, rubbing, restraint and so on. Among many techniques, stippling is worth mentioning. Although as early as in the classical Tampere technique, stippling is an important technique of Impressionism. In the comprehensive painting method, the combination of point method with line and surface can produce rich contrast, and oil painting pens with different shapes and textures can produce different point strokes, which can play a unique role in expressing the texture of some objects. It requires rich brushstrokes, thick brushstrokes and contrasting colors, which requires painters to use small opaque brushstrokes when using colors, rather than painting on a large area or using thin and flat brushstrokes. These strokes require that there be no oil of any color on the palette as much as possible (because such short strokes do not need the fluidity of pigments) and be drawn directly on the canvas. Other strokes are gradually added, some are parallel and some are overlapping. This serious overall structure, like all kinds of broken clothes, almost completely removes the lines. In the teaching process, in order to train students' pen skills, we advocate the application of methods such as frustration, patting, rubbing, sweeping, stamping, scraping, pointing, building, rubbing and restraint. In the process of painting, the picture is not only rich in color, but also diverse in brush strokes. This is also similar to the rich changes of brushstrokes of impressionist painters in the process of painting.

3. The mutual influence and infiltration between Impressionism and Chinese painting.

If we compare China's traditional Chinese painting with Impressionist painting, we can see that in the later development, painters began to pay attention to China's traditional Chinese painting art, and they saw the function of lines. Therefore, in the performance art of oil painting, the picture frame represented by long lines has gradually become the mainstream of the later fauvism. Under the influence of the brilliant colors of Impressionist painting, the masters of Chinese painting in China also changed the colors from elegant in the past to relatively gorgeous now.

Three. conclusion

Now some people say that impressionist things are "out of date". Now artists are playing with behavior, and easel painting has disappeared from the exhibition hall. But I think the current educational model in China is not innovative, but suitable for the current situation in China. Impressionist painting not only directly depicts the outdoor scenery in the form of creative themes, but also pursues the overall sense and atmosphere of objects in the change of light and color, depicting people and things around them without being bound by religious themes. It is said that the use of color breaks the inherent color. In terms of color, it emphasizes the description of natural colors to the expression of subjective feelings, and uses more high-purity and high-brightness colors. In the application of techniques, a painting uses methods such as frustration, patting, rubbing, sweeping, stamping, scraping, clicking, lapping, rubbing and restraint. They are all suitable for art education in China, and their role in the education process can not be ignored-it should be said that they are on the right track and used correctly. Impressionist painters, with their broad artistic vision, give us reflections on the artistic process and even the artistic education process in the process of mutual influence, reference, collision and encouragement. Impressionism makes his art closer to reality, but in terms of formal expression, by going up one flight of stairs. The pursuit of light and color has triggered a new set of artistic creation principles. The behavior of neo-impressionism shows that the authenticity of art can only be realized through scientific methods. Post-impressionist painters have become more interested in the attention of characters' psychology, fully demonstrating the potential of different forms of expression. These all play a guiding role in our education.