Western painting has excellent realistic characteristics, but it cannot be simply said that western painting is realism. Start with its source Greece. There are only bottle paintings, murals (mainly replicas) and literature records in Greek painting today. According to Gombrich, the way to create "what you see" belongs to the principle of representative theory. However, the artistic spirit of Greece is not only imitation or "realism" in a simple sense, but also attaches importance to ideas in perceptual forms, so the representative style of Greece has "noble simplicity and quiet greatness" (winkelmann). Rome inherited it, but it is more realistic, such as the characters in Pompeii murals, secular life, space scenes with light and shadow, etc. Later came the long medieval religious art, which was a major turning point in western painting. Christianity's anti-idol concept abandoned the Greek tradition, but in fact it was not allowed to use visual images to promote teachings, and it was once more popular in painting than Byzantium in eastern Rome. Its basic way is to point to the unrealistic heaven with a stylized figurative symbol, and its scope is basically limited to icons and religious stories. Its figurative meaning is not reproduced, but some recognizable symbols are used: its intention is unrealistic, but only for theological thought, although in some cases, later painters stuffed secular and vivid things into it. This is very different from Greece, and its artistic appeal is profound and grand. The reason why this passage is pointed out is that art history in modern times often downplays it. Medieval figuration is not realistic at all, but it is an indispensable part of western tradition and has a great influence on later generations.

The Renaissance was, of course, a rediscovery of Greek traditions. But don't forget that the early Italian Renaissance was obviously transformed from Byzantine art, and the so-called Northern Renaissance was a continuation of Gothic art, which was another major turning point: the transformation between Greek tradition and the Middle Ages. Renaissance initiated the modern period of western painting, which can be said to be two points in practical significance: highlighting human consciousness, which is the reality of spiritual essence; In principle, painting studies the perspective, anatomy, physical properties and physical structure in space, which is the reality of painting methods. Some people tend to look at paintings only with perceptual vividness, but fail to see its rational power, such as "Da"? Finch's great wisdom, from Ma Saqiao to Francesca's mathematical structure, Raphael's harmony, etc. In fact, the harmonious pursuit of sensibility and rationality is the support of realism in the great creation of the Renaissance. People's consciousness also involves a new understanding of nature as a living environment for people. However, the Renaissance as a whole cannot be attributed to realism, otherwise it will not be conducive to accepting this human cultural heritage. After hundreds of years, there are many changes, which can be roughly divided into two ways: one is that the classics evolved from the old academic school, with little new ideas; The other is that they have been influenced by affectation (or "stylism", which is not very accurate). Classicism carries forward the ideal of lofty spirit and develops in a standardized form, such as Pu Sang, which Cezanne admired, but its last stream is often mediocre under Chen Xiangyin. Pretending to be anti-Renaissance, but it also contains opportunities for new changes, so it may turn into Baroque. If you want to be realistic, you will gain more along the way. Caravaggio's outstanding role on this road is not only to establish the method of light and shadow painting, but also to further promote realism, the realization of characters and even popularization.

Only Rembrandt (Dutch school of painting) and velazquez (Spanish school of painting) can be called the glorious faces of modern realistic painting. In the history of painting, realism often emphasizes the Dutch in17th century (including their small painting school), because under the social consciousness of the middle class in newly independent countries, it has promoted the all-round development of realistic and diverse themes such as portraits, land and sea scenery, still life and living customs. Rococo and neoclassicism both adopt similar figurative techniques, the former is closer to human life, but on the whole, the former's painting style is not as advanced as neoclassicism. At that time, latour had long been forgotten, while the Lenan brothers were regarded as pioneers of French realism by later generations. Both of them were independent realists.

Our country's predecessors accepted western art, especially in the19th century, and mainly inherited19th century in painting, probably because it was more direct with the cultural situation in China after the May 4th Movement. 19th century is rich, lively and complex, which needs to be analyzed. Gombrich believes that the art history at that time was a "history of struggle with schema" with the practical study of reality as the main weapon, which shows the significance of realism. The main points are as follows: First, "authentic" and "typical" realism is represented by French and plays a leading role, and Courbet was the first to be popularized. Courbet advocates "tangible language", "tangible objects" and "beauty exists in nature", especially in the real life of contemporary society. It has a distinct democratic consciousness, that is, the so-called "democratic movement within the scope of art", but this consciousness has duality, which is both an expression and a protest against the middle class. Its focus is to stand up for the "amiable" ordinary people, as a reflection of the changes in the social status of civilians after the French Revolution. They depict contemporary life on an unprecedented scale and deny the old historical paintings (in fact, they don't completely deny them). Of course, these views are not "purely objective". For example, in the Manifesto of Realism, it is proposed to express the "ideal of the times" according to the evaluation of being a painter and being a person. Second, they are diverse in the development of this artistic value. In addition to Courbet, there are Barbizonschool's love for local nature, Miller's reflection on the soul of working peasants, Du Miai's sharp and profound social criticism, his praise of revolution and his reflection of a certain socialist consciousness, Manet's portrayal of urban middle class life, Mesunier's description of the customs and figures and the Napoleonic era, etc., which have not only shifted their themes, but also changed their thoughts, feelings and social attitudes, and tended to be simple, fresh and vivid in style. Third, French realism in the19th century does have different characteristics from that before and after, and it also lacks a strict value system, including positivism, humanized religion, anarchism, socialism, homesickness, eschatology and so on. Fourth, skill has nothing to do with literary decoration, but focuses on discovering the beauty of naturalness and sociality. Emphasize "writing"-give full play to the characteristics of writing or painting, improvisation and improvisation. Later, the color system under the external light was continued to be realized by Impressionists, which can be regarded as the completion of skill tempering in the modern realistic stage. The so-called "T rompe lchr(39)Oeil" (French terms, "optical illusion" and "confusing the truth") is a pursuit of figurative painting, but it is not a necessary goal of realism. It is worth noting that almost at the same time as realism, it is the Sharon school that prevailed for a while. Unfortunately, this opposite phenomenon is often not clearly observed by our introducer here, and it is cooked in one pot. Salon painting school (or painting style) is a heterogeneous variant of classicism, a pseudo-classicism, and comes from academic school. Specially touting the good customs of the new upper class, affectation, outdated spirit and low character. This is a criticism of the action tendency, and each has its own advantages and disadvantages. At the same time, realism has also changed, and later it often becomes mediocre. 6./kloc-realism in the 0/9th century has also developed in many nation-states. We are most influenced by the Russian roving exhibition school. The roving exhibition school may lack mature artistic skills, but it does have rare characteristics in the west, that is, it paid close attention to the life and destiny of the lower class during the Reform Movement, showed profound national style, and had strong democratic fighting feelings of advanced intellectuals against the inhuman system. We know that their benefits are precious and should not be given up easily. Seven,19th century realism has a universal spiritual feature, that is, the spirit of criticizing serfdom and capitalism, which is called critical realism, and its political nature is remarkable. "Naturalism" is sometimes regarded as a synonym for realism, and sometimes as a variant of "writing now", that is, it inherits realism on the surface, but in essence only pays attention to truly describing self-sufficiency and loses the spiritual character of reality.

/kloc-at the turn of the 20th century, the western painting style changed suddenly. This sudden change is usually interpreted as a rebellion against the long-standing tradition of "following nature" and a period of modernism has emerged. However, the relationship between modernism and realism in this period is often treated simply. There are differences in principle between the two, and there are various blending States. In fact, it is still impossible for modernism to inherit the traditional achievements in one way or another; Modern realism still appears in various new postures, including absorbing the benefits of modernism. From this perspective, there must be "you have me, I have you" between them, and it cannot be handled by "labeling". It should be said that the 20th century was not only a period in which modernism dominated, but also a period in which realism opened up new paths under new conditions. It's better to observe like this. It is necessary for us to study realism and realism in this period in an important position. The first draft of this paper is a bit rough.

Realism in the twentieth century is closely related to the division of world ideology, but it is not always parallel and consistent. The Soviet Union gradually strengthened and adhered to realism from the 1920s. Later, many socialist countries paid special attention to realism. There is a popular saying that this phenomenon is a political prejudice caused by cultural conservatism and backwardness. Classical Marxist writers once attached importance to realism in literature and art at that time, because it was a mirror to understand capitalist society and stood up for the working people. The Russian tradition represented by the roving exhibition school truly reflects the road of Russian liberation movement, which is rare in the world. On this basis, under the new social conditions, the Soviet Union put forward "socialist realism" in the 1930s, demanding that "the reality be truly, historically and concretely reflected from the revolutionary development of reality", and the results are well known to us. They created new achievements that critical realism did not have in the whole19th century, and made great contributions. However, due to the closed, dogmatic and bureaucratic system, they later had great twists and turns in both realism and non-realism, which is also a lesson we are familiar with. Similarly, under the influence of left-wing ideology, other countries have also appeared a new pursuit of realism in the direction of revolution, such as murals and prints in the Mexican democratic movement, and many realistic pioneers and new painters during the anti-fascist United front period in Western Europe. It is in this field of practice that a great debate took place. Yu Ding's doctoral thesis "Realism in Western Modernism" (tutor Shao Dazhen) put forward the three-stage theory of the development of realism in the 20th century. Here are some analyses for your reference. The first stage is generally the practice and debate in the above period. The argument is basically between left-wing intellectuals. Among them, Luacs insisted on and returned to the argument of critical realism in19th century, and Adorno advocated modernism. There is an argument between Luacs and Brecht. Brecht advocated that realism should not be rigidly adhered to the old rules and methods. It was not until 1963, after the thawing of the Soviet Union, that Galloti, a theorist of the original law, put forward boundless realism. He believes that "the definition of realism should be open and expanded", "there is no unrealistic art", "the reality of human beings is infinite" and "Picasso liberated traditional realism from too narrow a definition.

There is an episode in the Western World that needs to be mentioned. This is the period of Nazi Germany, when modernism was wrongly labeled as "decadent art" and suppressed, and advocating their so-called realism was actually an extremely hypocritical concept map and "false, big and empty" absurdity. In the west, it is worth noting that in the United States, the momentum of writing reality in the whole century is not small, which is characterized by a large swing: on the one hand, it vigorously promotes abstract expressionism, and Greenberg regards abstract flatness as the extreme of painting nature; On the one hand, there are all kinds of realism. The American book Realism Today says: "Realism has proved to be more lasting than its detractors expected, and it has been regenerated and developed in the past few decades." The book also points out that American realism has four sources: first, surrealism emphasizes psychological truth; Second, the "pop" attitude towards copying everyday objects is ruthless (which may refer to a purely objective attitude-attracting people to press); Third, the image skills under the camera snapshot lens; Fourthly, there is an emphasis on realism in American art history. These four points show that the general approach of realism in the 20th century can be supplemented. The second of the three stages of the development of Yu Ding's papers is the "neo-realism" caused by the industrialized mass culture from the Second World War to the 1970s, and its outstanding representative is Pope, who is both avant-garde and raises the banner of neo-realism.

The third stage pointed out by Yu Ding's thesis is the western realism under the rise of post-modernism. We can see that the dominant position of modernism has been declining, but the method of concretization-reappearance is used in painting, which essentially expresses the concepts of metaphor, parody and cultural reflection. At the same time, in addition to this trend, Britain, French, Spanish and other countries also have Freud, Aarika, Garcia and other well-known realism masters. But whether these can be regarded as "realistic regression" can be discussed.

In short, we now know more and more about foreign paintings in the 20th century, which is conducive to a deeper and more comprehensive observation of the historical development of realistic painting.

The above outline scanning is used to show that oil painting is not always realistic abroad, and there is a process of repeated transformation of opposites in concept and form, thus showing richness and complexity, always between advance and retreat. This is not only caused by the self-discipline of oil painting "ontology", but also inseparable from the heteronomy restriction of social and historical context.

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