The painter depicts this traditional theme with stunning and unrestrained oil painting brushwork, and the characterization shows great generality. The light comes from the left, and the relationship between the characters is simple, which contains great emotional power. At that time, his oil painting skills were perfect, and he was good at dealing with the relationship between light and space from the rendering of color levels. This dramatic scene is like this: the prodigal son kneels before his father and repents. The father looked kind and comforted his son with his hand. Several sympathetic characters around him are treated in shadows and semi-shadows, and there is a certain spatial depth between the characters, which is wrapped by the atmosphere of light. Rembrandt said: When I talk about light, I mean air. What I want to really explain is the space of a room, the space of a yard and the space of the whole world. These words show the painter's views on light and color in oil paintings. He believes that the characteristic of oil painting is to depict light; There is a certain distance between bright light and deep light. For example, in his Night Patrol, all the characters in the painting are concentrated in the air, and the spatial position of the characters is revealed by a layer of foggy light. Rembrandt's view of light and color has great inspiration for later painters. The description of artistic conception in his oil paintings reveals a little light from the dark layer and is imitated by many painters in later generations.
The oil painting space he refers to is actually an unpredictable thing. When he uses oil painting color to express, the concreteness of things is the certainty of space. Rembrandt also said: I paint first, and then try to find out what I painted and how I painted it. Rubens has never painted like this. hals is closer. Bruegel is really amazing. I also heard that velazquez painted like this. The public doesn't pay attention to how I paint. Maybe 400 years later, what paintings I have will be handed down, and people will say: Rembrandt did the right thing, and he found the right direction. This is an interesting experiment and a surprising temptation. These creative experiences are helpful for us to understand his later experience in spatial description of oil paintings. Although they are obscure, they are of profound academic value to painting researchers. The sense of space in his oil paintings is by no means natural light and air. The audience can see some deepened artistic images from his paintings and understand the light and space he refers to. The prodigal son seems to be fuller, if it is a color map.
(2)
The prodigal son went home.
Category oil painting, famous painting
The date is 1670- 1674.
Author murillo
The specification is 236×26 1 cm.
Subordinate Seville
brief introduction
1In the 1960s and 1970s, murillo, a Seville painter who enthusiastically pursued the ideal beauty, began to enter the creative period. At this time, in addition to church altars and decorative paintings, he also painted many paintings for churches and monasteries in Seville, such as 20 oil paintings for the Dervish Monastery and 1 1 painting for the Caridade Chapel. The prodigal son comes home is one of these paintings. Murillo likes to use his familiar and even contemporary life background to make religious paintings. The characters in the Bible have become farmers in Andalusia, and the lives of the Virgin, the infant and John the Baptist are the ordinary family lives of ordinary people. Although he also tries to beautify, the beauty in his mind is a kind of secular beauty. This can be seen from all the characters in The Prodigal Home.
Punishing evil and promoting good is a common content in religious teachings. The return of the prodigal son in Christianity is also a common theme in the Middle Ages. Diu Lei drew a bronze plate (see Diu Lei's entry in this book), and Rembrandt also drew it. Murillo painted about two years later than Rembrandt. The story is about another road after the brothers of a family split up. My brother worked hard, became rich, wandered around the world, idled and squandered, and finally ended up begging. Later, inspired by God, he regretted it and was ashamed to go home. According to the Bible, this painting shows the moment when the prodigal son returns to his loving father.
Murillo drew a sketch of each character, which was very detailed. The ragged prodigal son is kneeling in front of his old father. His generous robe and caressing gesture reflect his kind heart. The whole work embodies the artistic tendency of classicism. The elder brother on the left has just returned from the field, leading a cow, followed by his youngest son. On the right is a large number of family members who meet outside the door. A servant brought the replaced clothes, shoes and hats for the prodigal son to replace. This scene is just a comparison with the story of Zuo Jiao's brother's return. The distance is blurred by clouds, and the buildings on the background correctly show the depth space in perspective. Murillo is good at using harmonious silver gray and light brown yellow. Many scholars believe that Murillo's oil painting style indicates the birth of18th century classical painting. He is a pioneer of painting with high realistic ability and won the respect of later academic painters. He inherited the education of masters such as Lasketz and Van Dyke, and advocated that painting modeling should be based on sketching. Therefore, when he started the Junior Sketch School (later Seville Academy of Fine Arts) in Seville, he advocated that students should not imitate the styles of others and foreign countries, but should be based on their own ability to sketch from nature.