油画的前身是15世纪以前欧洲绘画中的蛋彩画，后经尼德兰画家扬·凡·艾克（Jan Van Eyck），（1385年-1441年） 对绘画材料等加以改良后发扬光大。后人因扬·凡·艾克对油画艺术技巧的纵深发展做出的独特贡献，誉其为“油画之父”。近代油画多用亚麻子油调和颜料，在经过处理的布或木板上作画，因为油画颜料干后不变色，多种颜色调和不会变得肮脏，画家可以画出丰富、逼真的色彩。油画颜料不透明，覆盖力强，所以绘画时可以由深到浅，逐层覆盖，使绘画产生立体感。
油画逐渐成为西方绘画史中的主体绘画方式，存世的西方绘画作品主要是油画作品。随着时间的发展油画逐渐生活化，其中最著名的就是《蒙娜丽莎》表现的一个普通妇女并广为流传。19世纪后期，由于科技发展，许多新材料应用于油画领域，如丙烯颜料，油漆等。

外国
古典油画在整体上是油画语言等因素共时综合运用的结果。R.康平的三叶祭坛画《受胎告知》就细致地 呈现室内外的所有景物。意大利的提香是第1个特别注重油画色彩表现力的画家，他在暗底子上作画，并常用明度接近、色相略异的明亮色彩构成富丽堂皇的金黄色调，透明颜料的多次复叠，忽厚忽薄的笔法，又使色彩与形体有机溶合，造就出质感效果。
从18世纪开始，油画艺术也同样在社会、文化、科技等多元因素的冲击下，有了翻天复地、摧枯拉朽的变化。更多的流派、更多的思维、更丰富的创作、更深刻且影响更广的理论，激扬、解构、反叛，争奇斗艳、百花齐放。中国的油画最早出现在棺椁器具之中，据周礼、汉书等文献所记，二千多年前的中国已有用“油”绘画的历史。通常的说法是1581年利玛窦携天主、圣母像到中国后，才开始了中国的油画，其中一幅“木美人”作品，虽历时五百年，仍依稀可见画风的古朴厚重。
中国
康熙年间，传教士郎世宁、潘庭章、艾启蒙等以绘画供奉内廷，从而把西方的油画技法带入了皇宫；雍正，乾隆年间，宫廷的包衣（满语即奴仆）受命于皇上，向传教士学习油画，但并未留下一些痕迹。到了1840年鸦片战争爆发，中西文化大冲撞，民间的画坊、画馆兴起，画技亦得到了改善。但此时由于画工的地位低微，文化素养也有限，使他们的作品未能进入文化的高层次，形成一个独立的新文化。
清末维新戊戌变法后，许多青年学子先后赴英国、法国、日本等国学习西洋油画，他们中有：李铁夫、冯钢百、李毅士、李叔同（弘一法师）、林风眠、徐悲鸿、刘海粟、颜文梁、潘玉良、庞薰琹、常书鸿、吴大羽、唐一禾、陈抱一、关良、王悦之、卫天霖、许幸之、倪贻德、丁衍庸等。这些人归国后带来了西方及日本先进的教学方法及理念，如1911年西洋归国的周湘创办了中国第一所美术学校；1912年刘海粟创办上海图画学术院，并第一次起用人体模特写生；1919年任教育总长的蔡元培先生倡导开办了第一所国立美术学校--北京美术学校，（校长林风眠）；1927年，中央大学开设艺术科（徐悲鸿任主任）；1928年杭州创办了第一所大学制的国立艺术院校（林风眠任院长）等。
这一时期的主要三个画派分别为：写实派（徐悲鸿）；新画派（林风眠、刘海粟）；现代派（庞薰琹）。
多油画家用绘画作武器，反映战事，揭露暴政，如王式廓的《台儿庄大血战》，唐一禾的《胜利与和平》，司徒乔的《放下你的鞭子》等。一些画家因战事远赴西北、西南等少数民族地区，创作出了如《负水女》（吴作人）.《哈萨克牧羊女》（董希文）等佳作。处于这一时期的中国正是战火纷飞的年代，没有稳定的社会环境，油画家颠沛流离。国难当头，此时的延安，画家的画风受到了《在延安文艺座谈会上的讲话》的影响，倾向文艺为“工农兵服务。”徐悲鸿的写实主义正好与当时的时代相和，逐渐形成了中国规范化的油画。
1964年，在“一切以阶级斗争为纲”的口号下林彪、江青等对文艺界进行了一场文化扫荡。不少画家的作品被洗掠一空，钟涵的《延河边上》、杜键的《在激流中前进》、李化吉的《文成公主》、秦征的《家》等都以莫须有的罪名示众批判，并被破坏殆尽。在“新美术必须与人民结合”的观点的影响下，写实主义一统天下，风景、静物、人物等题材被冷落。这个时期诞生了一批革命历史画，如胡一川的《开镣》、王式廓的《参军》、罗工柳的《地道战》、董希文的《开国大典》、李宗津的《飞夺泸定桥》、艾中信的《过雪山》等。随着群众运动的展开，中国油画进入了“全盘苏化”的局面，以巴维尔·彼得罗维奇·契斯恰科夫教学体系为核心的油画教学迅速成为中国油画的单一教学体系，并培养了一批油画骨干力量。此后，一批油画家在“民族化”精神的扩展中对单一的油画体系进行了突破，形成了罗工柳的《在井冈山上》，李化吉的《文成公主》，袁运生的《水乡》，徐坚白的《旧居前的留念》等作品。
另一方面，油画成了造神的工具，《毛主席去安源》成为其时典型之作，印刷量在当时达一亿张以上。此时，部分青年油画家开始崭露头角，如陈丹青、沈家蔚等。代表作品有：《永不休战》、《黄河颂》、《泪洒丰收田》、《我为伟大祖国站岗》等。
文化大革命之后，是文艺的开放期，各种形式的画会风起云涌，绘画形式也变得丰富多样。其中罗中立的《父亲》、陈丹青的《西藏组画》、闻立鹏的《大地的女儿》、詹建俊的《回望》等都是这一时期的佳作。在最初的艺术喷涌期过后，油画又走到了一个新的十字路口，中国画坛迫切需要更现代，更新鲜的空气。其中胡悌麟、贾涤非的《杨靖宇将军》，苏笑柏的《大娘家》，俞晓夫的《我轻轻的敲门》，于云飞的《公园一角》等作品，在当代意识的关照下对主题性绘画作了新的开拓。
然而，虽然文化的禁锢已经解除，但由于各种原因（主要是经济上的原因），大部分画家的眼界与思维尚未完全打开，以领略当今世界各种纷繁复杂的变化，因而缺乏真正的具代表性的作品。但毕竟，中国的油画此时已进入一个新的时代，正在学习、蜕变，并不断地丰富。
古典
油画的发展过程经历了古典、近代、现代几个时期，不同时期的油画受着时代的艺术思想支配和技法的制约，呈现出不同的面貌。
油画发展初期的历史条件奠定了古典油画的写实倾向。15世纪的欧洲文艺复兴运动中，人文主义思想出于对宗教的批判，有着关注社会现实的积极要求，许多著名画家为逐渐摆脱单一的以基督教经典为题材的创作，开始对当时生活中的人物、风景、物品进行观察和直接描绘，使宗教题材的作品含带明显的现实世俗因素，有的画家完全描绘现实生活的实景。文艺复兴时代的画家继承了希腊、罗马的艺术观念，即不仅注重作品要描述某一事件或事实，还要揭示出事件或事实的前因后果，于是形成了注重构思典型情节和塑造典型形象的艺术手法。与此同时，画家还分别探索解剖学、透视学在绘画中的运用、画面明暗分布的作用等，形成了造型的科学原理。人体解剖学的运用使绘画中的人物造型有了如同真实般准确的比例、形体、结构关系；焦点透视法的建立使绘画通过构图形成幻觉的深度空间，画中的景物与现实中定向的瞬间视觉感受相同；明暗法使画中的物象统一在一个主要光源发出的光线下，形成由近及远的清晰层次。人文主义的艺术主题与追求写实的造型观念在其他画种中所以不能完善，是因为工具材料的限制，而油画工具材料性能正适于将二者充分体现出来。因而，古典油画成为经长期制作的、高度写实的面貌。
17世纪的一部分油画强调了油画的光感，运用色彩冷暖对比、明暗强度对比、厚薄层次对比进行光感的创造，形成画面戏剧性气氛。意大利画家卡拉瓦乔打破了他之前油画中有序和谐的光感效果，他强化画面上明暗的对比，往往用画面背景平面的大片暗部衬托前景明亮的人物，令人感到画中光线耀眼。西班牙画家el.格列柯将景物处理成处在斑驳的光影之下，他不是从明暗两大体面，而是从间断错落的明暗分布进行造型，色彩的冷暖也形成间断的连续变化，用笔凝重，色彩层面在挤压中互相渗化，画面给人扑朔迷离的效果，有的甚至充盈着神秘与不安的气氛。荷兰画家伦勃朗也把画中的光感作为表现人的精神状态的一种手段，他所作大量的人物肖像中，人物都处在大块暗部的笼罩中，唯表现神情的脸、手等重要部分显出鲜明的亮度。他运用沉着的颜色在暗部多层薄涂，使暗部显得深邃，画亮部则用厚涂和画刀堆色法，造成厚重的体量感。同时期，笔触的运用也被许多画家侧重探索。
近代
油画的发展在19世纪有了新的趋向，主要是油画色彩的变革。英国画家j.康斯特布尔最早直接用油画在室外写生，获得丰富的色彩感受，他在局部用细小笔触并置颜色，使之混合成较鲜明的色块，画面较古典的褐色调子明
亮得多。色彩的补色──色轮两极的颜色在并置时能互相提高明度和强度的原理，是在后来被科学认识的，但康斯特布尔凭借对自然的观察感性地获得了补色原理，并在实践中部分地运用。他的作品启发了法国画家e.德拉克洛瓦。德拉克洛瓦以浪漫主义思想支配创作，根据当时的历史事件创作大幅主题画。他将补色关系更多地运用于创作的色彩表现，运用活跃的笔触，在画面的许多部位形成色彩的对比，增强了色彩的明亮度和华丽感，形成了震动当时画坛的风格。法国巴比松画派的许多画家在不同的自然气候条件下进行风景写生，认识到景物光源色、固有色和环境色之间的关系，认识到色调对于体现时间、环境、气氛，烘托艺术主题，构成画面意境与情调的重大意义。他们大量的风景创作画出了大自然风、雨、晨、暮等特定的色彩气氛。
19世纪的欧洲油画出现了有明确艺术主张的流派，虽主要体现在艺术主题和内容上，但油画技法也相应各具面貌。如新古典主义注重油画中物象造型的严谨与坚实感，符合古典传统的造型法则；浪漫主义围绕悲剧的主题，力求以色彩、笔触因素和构图中运动式线条创造画中情节的紧张感；拉斐尔前派注重对画中人物心理情绪的表达，较多画面以青、紫、绿调子构成感伤的、静寂的意境。虽然近代油画的面貌已经比较丰富，但都具有写实的整体特征，它们共同表现为：一幅油画是艺术形式的统一体，色彩的主调统一着画面各局部的颜色，局部色彩在过渡的渐变中互相形成和谐的关系，不存在孤立的色块；笔触基本上是为塑造形象而运用，显露的程度有限，并统一在或曲长、或短促的某种有序倾向中；被描绘的物象统一在中心焦点的构图中，形成与真实视域同构的效果。
从19世纪末叶开始，西方油画发生了根本性变化。传统油画比较狭窄的艺术功能和一体化的写实手法已经达到自身体系的高度饱和，因而在哲学观念、艺术观念的变革中趋于解体。油画不再以模仿自然、再现自然为艺术创造原则，艺术家自由构造的油画艺术形象被视为新的真实。艺术家不再通过油画形式如实描绘自然，而将油画形式作为表现自己精神与情感世界的媒介，以想象、幻想等方法构造作品。印象派之后的三位画家率先离弃了传统油画模式。v.凡高以疾急奔放的笔触，使浓厚、明亮的色彩充满强烈的力感，表现内心情绪的不安。p.高更以象征的色彩和造型构成画面，作品的空间与传统的形式相违，具有非描述性的神秘气氛。p.塞尚探研用几何形构成艺术形象，创造出画面是一个富有自身秩序的世界。他们的作品成为油画面貌剧变的标志。
当代
在20世纪油画中，由不同的艺术观念形成了不同的流派，并制约艺术形式呈现多种倾向，传统油画技法中的某方面因素往往作为艺术观念的形式体现被强化，甚至被推向极端，油画形式语言受到高度重视。例如：忽视色彩而主要作形体自由构造的立体主义；注重色彩强烈
状态中均衡效果的野兽主义；通过色彩和笔触的无序使用表现扭曲心理的表现主义；纯粹以色彩的点、线、面构成画面的抽象主义；以及将颜料随意甩、泼、垂滴于画布上的抽象表现主义等。近百年来西方现代油画流派纷繁，相继更替，只要以油画工具材料为造型媒介，艺术家可以创造任意的油画面貌。
随着艺术观念的不断扩大，导致油画材料与其他材料相结合，产生了不归属某一具体画种的综合性艺术，油画因此也走向失去在西方作为主要画种的地位的趋势。

油画的流派分为两大类。第一类是以客观的再现为主的创造性作品；第二类是以主观表现为主的创造性作品。
在第一类中如文艺复兴后出现的巴洛克、洛克克、古典主义、学院主义、浪漫主义、现实主义、写实主义、照相写实主义、印象主义都是以再现自然为基础，表现画家不同的思想与目的。巴洛克派——巴洛克流行于17世纪至18世纪。“巴洛克”一词原意有不整齐、扭动、怪诞的意思。推崇运动的扭曲，形体的丰腴与量感，其艺术语言强烈、夸张、动、浮华，这是巴洛克派绘画的特点，其代表人物为鲁本斯。
洛克克派——“洛克克”原意是指贝壳的形状，其艺术风格为繁琐、精巧、纤细、甜腻、流行于18世纪，其代表画家有华多和弗朗索·布欧等。
古典主义与学院主义——古典主义是以尊重古希腊、罗马的审美原则，构图上对称、均衡，气势上庄严、辉煌、崇高向上，技法精湛，刻画深入。这也是学院主义的奉行的原则。正如学院派奠基者法契诺所讲“美是所有艺术品的最高目标，它是事物的一种客观性质，由秩序、和谐、比例、规矩所组成”。其代表作家有拉斐尔、安格尔等等。
浪漫主义——浪漫主义起源于法国19世纪初期，其代表作是籍里柯的《梅杜萨之筏》，在此作品中的构图、光线、色彩、动态、表情都表现了艺术家丰富的想象力，它打破了古典主义的构图中的水平与垂直，光线的柔和与均匀，使画面产生了一种激情。这也是浪漫主义绘画的重要元素，注重感情的宣泄与表达。
现实主义——现实主义绘画指19世纪中叶，以米勒为首的画家主张用忠实于对象的手法去表现正常的视觉形象，反映生活的本质。其代表作有米勒的《拾穗》等。
写实主义和照像写实主义——写实主义就如它的创始人库尔贝在1885年所讲的：“象我所见到的那样，如实地表现我这个时代的风俗，思想和它的面貌。一句话，创造艺术就是我的目的。”
照相写实主义是对生活以一种照片式的形式搬上画面，如克洛斯的《约翰像》。它绘制作品要先拍成照片或幻灯片，再把它以比真人大十倍的比例精细地放大到布上，更细腻、更逼真地表现出对象的细节，如脸上的每一丝肌理和每根汗毛等。印象主义——印象主义是19世纪的画家们走出了自己的画室，去探索自然界中光与色的瞬间变化，打破了传统观念上固有色的概念，如树是兰绿色、阴影是黑色，它把周围的环境色对固有色的影响进行了客观的绘制。其代表画家有莫奈、修拉、塞尚、雷诺阿等。
如果说以上提到的画派还是画家在忠实的再现自然，只是对其进行了发挥添加，强调和发展的话，下面所介绍的第二大类，即后印象主义、野兽派、立体主义、未来主义、抽象主义、超现实主义等，它们不再是对客观对象的真实描绘，而是根据画家的主观意图进行自由创作，它们大多出现在20世纪以后。
后印象主义——后印象主义画家强调表现自我感受，注重色彩的对比和事物的内在结构，其代表画家有凡高、高更等。这个画派对现代西方绘画产生了深远的影响。
野兽派——野兽派以夸张的造型、强烈的色彩、粗犷的线条表达内在激情，马蒂斯是这一画派的创始人。
立体主义——立体主义画派，画面的视点已不再是一个方位，而是对事物进行全方位的表现，使物体还原成几何形体。其创始人是西班牙画家毕加索和法国画家布拉克。
未来主义——未来主义画家以抽象的形式，运用色彩、线条表现运动速度、力量及其组合与分隔。
抽象主义——抽象主义是依靠线条、块、面、色彩，进行无具象的抽象进行组合，其代表画家为荷兰画家蒙德尔安。
达达主义—— 达达主义对后来的超现实主义、活动雕刻、波普艺术直到后现代主义都有一定影响。
超现实主义——超现实主义画派受柏格森的直觉主义及弗洛伊德的潜意识学说的影响，主张表现人的潜意识和梦幻。代表画家有西班牙画家达利、米罗。

素描稿
一般人看来，素描稿只是粗略的草稿，用几根随意性的线条勾画出物象的大体外形而已，而决定画面最终效果的是色彩塑造。对于采用直接作画法的艺术家来说，素描稿可能如此。而对于古典写实绘画的艺术家来说，素描稿则相当重要，它是艺术家造型语言的全部。因为素描是最基本的艺术表达方式，是艺术家与自然交流的第一步。在这里我们研究一下青年画家朝戈起素描稿的过程，如图25。
（1）先勾出一个设想性的草稿，用铅笔在纸上画出大构图和人物大体表情，然后对照模特进行写生。画家在写生时多以感性因素为主，人物的外形和神态尽可能接近对象。
精美油画作品图集相册
精美油画作品图集相册图册
（2）在写生过程中充分体味模特的内在气质，紧紧地抓住这一开启性灵的契机加以强化。然后，画家根据写生稿进行加工、概括、提炼。
（3）在前两张素描稿连续嬗变和语言净化的基础上进行第三张素描稿的创作。这一步强调轮廓线处理，使外形更加丰满，人物在光影的作用下产生一种浮雕感。同时对局部的内容加以充实，画得更加肯定。素描稿敲定之后，画家以极其严格的方法（方格放大法）将素描稿拷贝到画布上。由此看来，起素描稿是一个灵活的造型过程，它允许甚至鼓励不断修改和调整，所有这一切都是为了确定一个明确满意的视觉形象。在任何油画的起步阶段，都有理由也有必要花费大量时间来起素描稿。起素描稿并不一定上调子，可直接用线在画布上修改、调整，也可以用简单色来确定画面的主体色调与色彩关系。
下面介绍几种起稿用的工具。
（1）炭条。炭精棒与木炭条都适于在画布或木板上画素描。木炭条的性能更好，因为它的印痕较轻，更容易擦掉，用起来较为灵活。炭精棒能留下很重的线条，使轮廓线较为明确。
（2）炭笔。线条较细，更适于画细部。有人不主张用铅笔，认为铅印会从油画色层底下泛上来。
（3）色粉笔与蜡笔。在画布上使用不易过多，要避免使用白色或浅色。在这种素描中过多使用色粉笔或蜡笔会使底子不稳定。
（4）水彩与丙烯色。极薄的水彩不会对油画色的复盖产生任何影响。若要厚涂，就用丙烯色。
（5）水墨。使用中国书画用水墨，是很有趣的事。墨线既可以用油画色复盖，也可以保留，它不会轻易被松节油洗掉。
（6）复写纸。可将纸上的素描稿复印到画布上。在起素描稿阶段，发胶、胶液等固定液是不可缺少的。对于易脱落或泛色的材料有必要喷上一层固定液。另外，各种橡皮、抹布等也是必备品。
材料工具
用透明的植物油调和颜料，在制作过底子的布、纸、木板等材料上塑造艺术形象的绘画。它起源并发展于欧洲，到近代成为世界性的重要画种。产生15世纪以前欧洲绘画中的蛋彩画是油画的前身。在运用蛋彩画法的同时，许多画家继续寻找更为理想的调和剂。一般认为，15世纪初期的尼德兰画家凡·爱克兄弟是油画技法的奠基人。他们在前人尝试用油溶解颜料的基础上，用亚麻油和核桃油作为调和剂作画，致使描绘时运笔流畅，颜料在画面上干燥的时间适中，易于作画过程中多次复盖与修改，形成丰富的色彩层次和光泽度，干透后颜料附着力强，不易剥落和褪色。他们运用新的油画材料创作，在当时的画坛很有影响。油画技术很快在西欧其他国家传开，尤其在意大利的威尼斯得以迅速发展。
油画的主要材料和工具有颜料、松节油、画笔、画刀、画布、上光油、外框等。
① 颜料，分矿物质和化学合成两大类。最初的颜料多为矿物质颜料，由手工研磨成细末，作画时才进行调和鼻衄内。近代由工厂成批生产，装入锡管，颜料的种类也不断增加。颜料的性能与其所含的化学成分有关，调色时，化学作用会使有些颜料之间产生不良反应。因而，掌握颜料的性能有助于充分发挥油画技巧并使作品色彩经久不变。
② 松节油，是一种挥发性医用油。在油画的调制中，起稀释颜料的作用。一两分钟即可完全挥发，干后无光泽。将松节油和调色油按照一定比例混合使用，干得较快，色彩也比较亮。
③画笔，用弹性适中的动物毛制成，有尖锋圆形、平锋扁平形、短锋扁平形及扇形等种类。
④ 画刀，又称调色刀，用富有弹性的薄钢片制成，有尖状、圆状之分，用于在调色板上调匀颜料，不少画家也以刀代笔，直接用刀作画或部分地在画布上形成颜料层面、肌理，增加表现力。
⑤ 画布，标准的画布，是将亚麻布或帆布紧绷在木质内框上后，用胶或油与白粉掺和并涂刷在布的表面制作而成。一般做成不吸油又具有一定布纹效果的底子，或根据创作需要做成半吸油或完全吸油的底子。布纹的粗细根据画幅的大小而定，也根据作画效果的需要选择。有的画家使用涂过底色的画布，容易形成统一的画面色调，作画时还可不经意地露出底色。经过涂底制作后，不吸油的木板或硬纸板也可以代替画布。
⑥ 上光油，通常在油画完成并干透后罩涂上光油，保持画面的光泽度，防止空气侵蚀和积垢。
⑦ 外框，完整的油画作品包括外框，尤其是写实性较强的油画，外框形成观者对作品视域的界限，使画面显得完整、集中，画中的物象在观者的感觉中朝纵深发展。画框的厚薄、大小依作品内容而定。古典油画的外框多用木料、石膏制成，近现代油画的外框较多用铝合金等金属材料制成。
色层语言
通过油画的发展，可以看到色层美是不断开掘与创造的。
油画颜料厚堆的功能和极强的可塑性是其他画种无法比拟的，它的这种特性使油画在观感上产生出能与人们思想情感共振的节奏与力度。在运笔的作用下，塑造不单是完成造型的任务，而且也对画面的肌理效果产生着直接的影响。伦勃朗、鲁本斯都是善于掌握和控制肌理的人，因为肌理直接传达着艺术家的心理感受，影响着作品的感染力度。所谓肌理的合理表现不仅包括肌理对对象质感的摹仿和再现，还包括对画面的总体情绪的描述与表现。在传统写实油画中，肌理很能胜任对质感的再现任务，对象的细腻和粗糙的质地感都可用相应的肌理加以模仿，但这是一种非常被动的行为，而真正谓之美的肌理是那些能表达画面的韵律及艺术家的情感的、具有高度和谐秩序的肌理。这种纹理往往超越质感的局限而将精神之气贯穿于整个画面和观者的内心，成为抽离于具象的色层美。从这个意义上讲，它是抽象的。但在传统油画中它反过来又附着于写实的对象上，融合于由小至大的总体氛围之中。
透明复色
即用不加白色而只是被调色油稀释的颜料进行多层次描绘。必须在每一层干透后进行下一层上色，由于每层的颜色都较稀薄，下层的颜色能隐约透露出来，与上层的颜色形成变化微妙的色调。例如在深红的色层上涂罩稳重的蓝色，就会产生蓝中透紫即冷中寓暖的丰富效果，这往往是调色板上无法调出的色调。这种画法适于表现物象的质感和厚实感，尤其能惟妙惟肖地描绘出人物肌肤细腻的色彩变化，令人感到肌肤表皮之下流动着血液。它的缺点是色域较窄，制作过程工细，完成作品的时间长，不易于表达画家即时的艺术创作情感。
不透明复色
也称多层次着色法
作画时先用单色画出形体大貌，然后用颜色多层次塑造，暗部往往画得较薄，中间调子和亮部则层层厚涂，或盖或留，形成色块对比。由于厚薄不一，显出色彩的丰富韵意与肌理。透明与不透明两种画法没有严格的区别，画家经常在一幅
画作中综合运用。表现处在暗部或阴影中的物象时，用透明复色法可以产生稳定、深邃的体积感和空间感；不透明复色法则易于塑造处在暗部以外的形体，增加画面色彩的饱和度。19世纪以前的画家大都采用这两种画法，制作作品的时间一般较长，有的画完一层后经长期放置，待色层完全干透后再进行描绘。
不透明着色
也称为直接着色法
即在画布上作出物象形体轮廓后，凭借对物象的色彩感觉或对画面色彩的构思铺设颜色，基本上一次画完，不正确的部位用画刀刮去后继续上色调整。这种画法中每笔所蘸的颜料比较浓厚，色彩饱和度高，笔触也较清晰，易于表达作画时的生动感受。19世纪中叶后的许多画家较多采用这种画法。为使一次着色后达到色层饱满的效果，必须讲究笔势的运用即涂法，常用的涂法分为平涂、散涂和厚涂。平涂就是用单向的力度、均匀的笔势涂绘成大面积色彩，适于在平稳、安定的构图中塑造静态的形体；散涂指的是依据所画形体的自然转折趋势运笔，笔触比较松散、灵活；厚涂则是全幅或局部地厚堆颜料，有的形成高达数毫米的色层或色块，使颜料表现出质地的趣味，形象也得到强化。
油画技法示例（图）：打轮廓技法
但是，单色的明暗调子薄涂法确有其显着的优点，特别是画很复杂的对象和画那些难以掌握的姿势时，它的优点更加明显。第一，因为它是单色的，在起稿阶段可以放手去解决素描和构图问题，毋需顾及色彩。第二，用很薄的薄涂法可以反复进行修改，不会出现一般油画中因为涂改过多而变得杂乱、污秽的毛病。在起稿阶段解决了素描、色调和边线等问题，以后集中精力于色彩和结构，就轻松多了。
第一步：将熟褐和象牙黑调合成微暖的中间调子，要以熟褐为主，加入松节油使之稀薄、透明，用大猪鬃笔涂在整幅画布上（用中等粗糙程度的画布），然后画人体的最暗区域——头发。画头发要用稍厚一点的颜色，即在调合同样的中间调子时少加一点松节油，头发遮住了整个脸部，但它应能表达出画中人的强烈表情。我把发块不作为头发处理，而把它处理成一块确定大小和形状的暗色调。即使在开始阶段，明暗和素描要力求画准确。画准一个局部，再画准另一个局部。各个局部是相互关联的，一部分画不准就会影响其它，而整个局面就不能控制了。
第二步：这一步要把人体形象清楚地画出来。先用软布沿着人体手臂和拱起的膝盖上部表面擦去一些原来的调子，造成亮的层次。用于猪鬃笔在伸开的腿部和背部擦去更多一些，造成亮的层次，并使整条手臂形成中间调子。可以用清洁的软布头或笔蘸上松节油改动调子，但在打轮廓阶段绝对不能用不透明的白色。在这个阶段，边线问题和明暗、素描同样重要。从肩部顶端到手腕，以及穿过伸展的膝部的这些边线都相当明显，而从腋窝到手腕底部这段手臂下缘的边线却不那么明显，这些并非偶然现象。
第三步：在人体上画出所有的主要亮部。头、臂、肩和弯着的膝部暂时不去动它们，先在躯干的下部、臀部、收拢的那只脚和伸开的腿部发展亮的调子。这些部位原来的色层已经干燥，可用软布蘸上松节油将它擦去。其余部分看起来似乎是模糊的，但仍然是准确的。除了最终有特别亮的部分外，调子和形状都是正确的，位置也恰当。
第三步，用各种不同的方法上颜色。在前臂，三头肌和背部的肩肿骨部位，用重而平的笔触。在抬起的大腿中央，膝部和胸部，基本上是用调色刀。在手臂下面，抬起的大腿和脚之间，以及骨盆后面这些暗部，用薄而透明的颜料。在整个加工过程中，保持暗部的透明性十分重要。强烈的不透明的亮部和浓厚的透明的暗部相互作用，给人体带来立体感。在加工阶段，还要用调色刀将手臂下面暗部的斑点轻轻刮去，这些刺眼的斑点是厚的横笔触在画布的粗糙表面结构上形成的。另外，还要用獾毛笔将臀部和伸开的腿部下方那些难看的笔触弄光滑些。獾毛笔和貂毛笔能形成美丽柔和的笔触，但往往也会出现软弱松散的不良效果，使用时必须注意。最后完成的人体：布面油画，20″×30″。在完成阶段，再次致力于边线处理。在形体转折明显的地方，如能抬起的膝部顶端，边线就清晰些；在形体转折圆钝的地方，如内侧举起的大腿下方以及头发左缘与背景汇合处，边线就模糊些。在肩部和靠扰的那只脚上，用厚涂法（即在表面用厚颜料堆砌）。
技法名词
挫
挫是用油画笔的根部落笔着色的方法，按下笔后稍作挫动然后提起，如书法的逆锋行笔，苍劲结实。笔尖与笔根蘸取颜色的差异、按笔的轻重方向不同能产生多种变化和趣味。
拍
用宽的油画笔或扇形笔蘸色后在画面上轻轻拍打的技法称为拍。拍能产生一定的起伏肌理，既不十分明显，又不致过于简单，也可处理原先太强的笔触或色彩，使其减弱。
揉
揉是指把画面上两种或几种不同的颜色用笔直接操合的方法，颜色操合后产生自然的混合变化，获得微妙而鲜明的色彩及明暗对比，并可起到过渡衔接的作用。
线
线是指用笔勾画的线条，油画勾线一般用软毫的尖头绪，但在不同的风格中，圆头、校形和旧的扁笔也可勾画出类似书强中锋般的浑厚线条。东西方绘画开始时都是用线造型的，在早期油画中通常都以精确严谨的线条轮廓起稿，坦培拉技法中排线法是形成明暗的主要手段。西方油画到后来才演变为以明暗和体首为主，但尽管如此，油画中线的因素也从未消失过。纤细、豪放。工整或随意不拘以及反复交错叠压的各种线条运用，使油画语言更为丰富，不同形体边线的处理更是十分重要。东方绘画的用线也影响了很多西方现代大师的风格，如马蒂斯、凡高、毕加索、米罗和克利等都是用线的高手。
扫
扫常用来衔接两个邻接的色块，使之不太生硬，趁颜色未干时以干
净的扇形笔轻轻扫掠就可达到此目的。也可在底层色上用笔将另一种颜色扫上去来产生上下交错、松动而不腻死的色彩效果。
跺
指用硬的猪鬃画笔蘸色后以笔的头部垂直地将颜料跺在画面上。跺的方法不很常用，通常只在局部需要特殊肌理的时候才应用。
拉
拉是指油画中有时需要画出坚挺的线条和物体边缘如画锋利即剑或玻璃的侧面等，这时可用画刀调准颜色后用刀刃一侧将颜色在画面上拉出色线或色面，画刀画出的形体坚实肯定，是画笔或其它方法难以达到的。
擦
擦是把画笔横卧，用画笔的腹部在画面鼓擦，通常擦时用较少的颜色大面积进行，可形成不很明显的笔触，也是铺底层色的常用方法。在干了的底色或起伏的肌理上用擦的笔法可画出类似国画飞白的效果，使底层肌理更为明显。
抑
抑是用刀的底面在湿的颜色层上轻轻向下压后提起，颜色表面会产生特殊的肌理。在有些需要刻画特殊质感的地方用抑技法可达到预期的效果。
砌
砌的方法是用刀代替画笔，像泥瓦匠用泥刀环泥灰那样将颜色砌到画布上去，直接留下刀痕。用砌的方法可以有不同的厚薄层次变化，刀的大小和形状以及用刀的方向不同也会产生丰富的对比。用画刀调取不同的颜色不作过多调合，任其在画面上自然地混合能产生微妙的色彩关系。起伏过大的色层也可用砌的方法将其砌平。砌的方法如果使用得当，就会有很强的塑造感。
划
划指用画刀的刀锋在未干的颜色上刻画出阴线条和形有时可露出底层色来。不同的画刀能产生深浅粗细不同的变与画笔的笔触及画刀利的技法产生的色面形成点、线、面的对起伏的肌理变化。
点
点众法自点始，一切笔法均出发于点。早在古典坦培拉技法中，点画法就是一种表现层次的重要技法。在维米尔的作品中也使用了点的笔触来表现光的闪烁和物体质地。印象派时点彩笔法成了其基本特征之一，但莫奈、雷诺阿和毕沙罗等的点法各自具有不同的变化和个性。新印象派则走向极端，机械地将点作为其唯一的笔法。现代写实油画中也有沿用以点的疏密来产生明暗层次的，可以造成肯定又不死板的过渡。点的方法在综合性画法中与线条和体面结合可产生丰富的对比，用不同形状和质地的油画笔又可产生不同的点状笔触，对表现某些物体的质感能起独特的作用。
刮
刮是油画刀的基本用途，刮的方法一般是用刀刃刮去画面上画得不理想的部分，也可用刀刮去不必要的细节或减弱过于强的关系，让显得紧张的画面关系松弛下来。在一天作业结束时往往需要把本画完的部分颜色用刀刮去以便及时干燥，待第二天接着画。颜色干后也可用画刀或剃须刀把高低不平处刮得平整一些。还可在未干的颜色层上用刀刮，使之露出底色从而显现各种肌理。
涂
如果说点画法和勾画法是形成油画点与线的手段的话，那么涂就是构成油画体决，即面的主要方法。涂的方法有平涂、厚涂和薄涂等，也有把印象派的点彩法称为散涂的。平涂是画大面积色块的主要方法，均匀的平涂也是装饰性油画的常用技法。厚涂则是油画区别于其它画种用笔的主要特征之一，可以使颜料产生一定的厚度并留下明显的笔触而形成肌理。用画刀把极厚的颜料刮到或直接将颜料挤到画布上，可称为堆涂。薄徐是用油将颜色稀释后薄薄地涂上画面，可产生透明或半透明的效果。散涂则使用笔显得灵活多变、气韵生动。结合揉扫的涂法也叫做晕涂。
摆
用笔将颜料直接放在画布上不作更多的改动称摆，摆也是油画基本的笔法之一。摆的方法常用在油画开始和结束时，以较肯定的颜色和准确的笔触来寻找色彩与形体关系，往往关键处只需几笔就能使画面改观，当然下笔前应先做到成竹在胸方可奏效。

清洗
油画作品在保存过程中难免会发黄变暗，这是由于表层光油被氧化的结果。至今还没有一种不会被氧化的光油，清除掉旧光油层重新上光是恢复作品原貌的唯一办法。常用的清洗溶剂有：
（1）松节油。对旧油画作用弱，而对新色层作用强，尤其用热水加温后使用效果更佳。
（2）精制汽油和苯（甲苯、二甲苯）。对树脂的溶解力比松节油强。
（3）乙醇（无水酒精）和甲醇（木醇）。是树脂的强力溶剂。
（4）丙酮和氯仿。能迅速溶解树脂和油层。美术用品商店出售的清洗剂一般是几种溶剂混合而成，强溶剂不能单独使用。现代油画多采用树脂光油，用松节油就能清洗掉。国内老一辈油画家多使用油质上光油，需要松节油和无水酒精混合使用。而丙酮只有在清洗古代作品时作为添加剂使用。
（5）双氧水。有许多名贵的白色颜料的物质是铅盐，在空气含有微量的硫化氢气体，当硫化氢遇到铅离子时，会发生化学反应，生辰接近黑色的固体硫化铅，使油画变暗，而双氧水可以将硫化铅氧化为白色的硫酸铅 。
擦拭的方法：用白色脱脂棉球（医药商店有售）蘸清洗洁剂从画面的一角做圆周式擦拭，每一部分擦拭的时间不易太长，以免损伤色层。棉球被染满黄色光油之后要马上更换新的。第一遍大部分旧光油能被清洗掉，清洗第二遍时对于顽固部分可加入强溶剂。因挤压而损伤造成的污痕以及蝇屎污点可使用刀具清除。
委托修复流程
油画修复原则和基本修复流程
首先对作品做一个修复之前的详细检验，检验之过程可分成四个方面来进行：
一，作品考证
了解作者和创作年代，寻找有关画家的相关资讯与绘画特质，如画家惯用的材料，色彩，笔触，创作风格,创作理念与美学观点等.这种调查，可以让修复师与作品建立更深一层的认识，在进行修复时才能更准确掌握到作品原始的创作面貌.
二，状态评话
首先要确定绘画的技法是油画还是胶彩画，记录作品的尺寸大小，主题，画家签名，完成日期，内框和外框的收存状况等，记录了这些基本情况后再进行深入的分析.
A，基底物：分辨基底物使用的材料是亚麻，黄麻，大麻，棉布，混合纤维，木板或纤维板：固定的方式是用钉了或钉枪的钉针；保存状况有无破损，氧化腐蚀，潮湿霉化，微生物或昆虫等侵害的现象；是否经过前人的修补，其修补的方式与应用的粘着剂为何物.
B，基底物"涂底":了解基底物"涂底"的颜色，基底物有无分离，浮起，龟裂，剥落或微生物等侵害现象.
C，绘画层：分析颜料使用的粘着剂；所涂绘画层的厚与薄；色调是属于明色，灰色还是暗色调：所用色技法是透明画法或不透明画法：笔触细腻或粗糙；绘画层是否龟裂，是局部还是全面龟裂，裂纹的深浅如何，是否开始产生剥落现象；颜色层表面是否出现水泡等.对这些因素的程度进行评话和分析.
D，保护层：先辨别是否有涂保护层，是全面或局部,涂的次数，厚薄.仔细分辨透明颜色与凡尼斯层的颜色是否有病变坏或微生物的侵害.
三，实验室的诊断
A紫外线照射：紫外线照射可以透视到保护层与绘画层内部，当这种紫外线光照射在作品表层时会呈现出蓝紫色的折射光，利用这种折射光，可以判断绘画层的化学反应，保护层的病变状况.
B，红外线：它的辐射原理如同X光线的辐射，只是它的辐射功能没有像X光线那么强烈，不过它的透视范围远超过紫外线照射，可以达到基底物的涂底层与素描层，因此可以提供修复师相当正确的资料.
四，拍照存档
艺术作品修复之前与修复之后，都有判若两画的感觉.所以在修复之前一定要先拍照片存档，做为日后比对的见证.此外，在修复的过程中时常需要作品照片的原貌作为辅助，来掌握整神作品的色彩，构图等重点.拍照的重点包括作品完整的正，背面，内，外框，再应用微距镜头以分割的方式做局部特写的拍照.
一，新画布的准备
选用颗粒细腻，均匀的上等麻布，把画布绷在比原画布每边大10-20公分的画框上.绷布时一定要保持距离相等的直线，这样绷画布不会造成力量的不平衡.而后用水喷湿画布，待画布干了以后，用手在画布上磨搓，画布再绷紧.如此反复进行三到四遍，才不会产生新旧画布的不协调，并增加附着力.
二，旧画的准备
A,内外框的拆除与清理：内外框拆除决不可以任意用力，拆除时一定要相当的小心谨慎，以免伤害到绘画层与基底物，用吸尘器轻轻将表层的灰尘吸干净，或是应用笔毛很细的排刷也可以，进行这些工作时一定要轻柔，细心.
B，拉平画布：用无酸牛皮纸将画贴在木框上.贴好边的画面，为避免在拉平过程中产生剥落
现象，需在画面上贴满棉纱纸，而后在贴满绵纱纸的画面四周再贴上牛皮纸.裱好后的旧布会在阴干的过程中被四边的张力自然绷紧拉平.
C，旧画背面清洁：当旧画裱过棉纱纸以后就可以将作品反转到背面，进行背面的清洁工作.一般的旧作品保存的时间相当长久，会有许多灰尘，微菌，虫卵附着在背面表层，要彻底清理，否则将影响移植后粘着效果.
一，清洗画面
在调制清洁溶剂时，首先必须分辨溶剂的强度，有许多溶剂在使用以后，将严重破坏作品所使用的材料，有时甚至侵蚀作品的涂底层，使涂底层的质地变软，比如醋酸，氨，丁酸胺等都不宜使用.一般常用的溶剂有：绘画用白酒精，纯松节油，酒精，丙酮，苯，二甲苯等,有许多溶剂是可以混合为二种，三种甚至四种一起使用，而每一种溶剂都有它的特性与溶解功能，这完全要视作品的材料污染程度与承受程度而定.但无论是何种方式，最基本的是修复师事先一定要先在作品的一角实验溶剂的清洁功能，确定没有问题以后才能使用，这样才不至于对作品造成遗憾的伤害.清洁的过程是将调制好的溶剂用棉花沾起涂在作品表层并轻轻擦，逐渐可以发现棉花因感染到凡尼斯层或灰尘变成暗黄色，一般是直到棉花己不再沾染任何污点，大致就可确定已经干净，同时决不可伤及颜料.清洁工作的成功与否，完全是看修复的个人经验与判断.
二，填补白浆
如果作品的表层因为龟裂剥落或破损过于严重，产生许多凹陷的空白处，就要进行白浆填补，使其回复平整的表层.应用的材料先取适量水性的动物胶，用隔水加热的方法加热，逐渐加入少许的蜂蜜，酚与熟石灰，将加热后的白浆涂在凹陷空白处并塑造与周围相应的笔触.填好白浆处呈白色.
三，补色
补色的工作曾经引起许多艺术家与学术家的争议，因为补色无疑是出自修复师之手，因此有人认为这样会破坏原画的美学价值.相对的，也有人认为这样可以称补作品受损的瑕癖.在决定进行补色时，先要进行对颜色层的分析，确实做到还原的效果，补色使用的材料，应采用优质的水彩，这种水彩应用便利而无冒险性，因为可以随时应水洗涤.底色干后，上凡尼斯（保护光油）而后上修复专用油彩，这种油彩可以轻易的用松节油去除.补色处原则上应比四周色淡一度,以便日后辨别.所有添补处日后可轻松去除.经过以上一系列的工作一幅破旧作品就基本修复了，至于装框等工作可根据作品内容和个人爱好而定.
使油画长期保存应当是收藏者的主要任务，要查明损坏原因并加以排除，从而保证尽最大限度延长一幅作品的寿命.中国各大博物馆，美术馆在油画修复方面几乎是一片空白而油画修复涉及的领域是多方面的，值得深入研究.本篇泛泛介绍了油画修复概况，旨在引起文博界的关注。
悬挂技巧
油画比起其它画种在陈列上有它的局限性。首先是容易反光，另外，用厚涂法强调画面肌理的油画，因有起伏而容易积尘。为了达到较好的视觉效果和保护画面，在悬挂时应有一个向前下方的倾斜度。油画面对正面光时，效果往往较差，应采用侧前上方光线，且尽可能做到悬挂处的光源与作画时的光源相一致，如作画时光源在左侧，悬挂时也应与此光源一致。

在欣赏一幅油画作品时，主要从作品的思想内容、艺术技巧两个方面来鉴赏。油画起源于西方，任何的油画作品都需要靠视觉形象来反映一定的思想内容。
一方面油画作品所塑造的形象，把观赏者带到了画家所反映的一个艺术境界之中，引起思想感情上的共鸣，产生审美作用。另一方面观赏者又根据自己的生活体验来认识和丰富了油画作品的内涵。对一幅油画作品的理解，不同人所理解的深度是不一样的，它同观赏者的素质条件相联系。优秀的油画作品所传达的思想内容，起到了陶冶人的情操，
提高人的精神境界的作用关于艺术技巧上的鉴赏，要有对油画语言的认识和了解。油画的材料本身具有区别于水墨画版画、水彩的特点，这种材料之美是油画的一大特性。
技巧高超的作品体现在画家掌握了材料的特性熟练运用材料和工具来塑造形象。画面反映出了整体和局部的和谐关系，丰富和统一的对立关系。
《向日葵》是凡．高在法国南方时画的。南方阳光的灿烂令画家狂喜，他用黄色画了一系列静物，来表达内心的感受，《向日葵》便是这时的代表作。画家以短暂的笔触把向日葵的黄色画得极其刺眼，每朵花如燃烧的火焰一般，细碎的花瓣和葵叶象火苗一样布满画面，整幅画尤如燃遍画布的火焰，显出画家狂热般的生命激情。
《向日葵》的色彩是用不同明度、不同纯度的黄色绘成的，黄色的背景，黄色的花瓶，黄色的花。深黄、浅黄、柠檬黄、橘黄、土黄,只用了少量的深绿和草绿画枝干和叶子，
配一点天蓝色的花蕊。凡高把色彩用绝了。他把黄色使用得如此动人，使黄色发挥出感人的魅力。你看空气中流动着金色的阳光，瓶中的向日葵生气勃勃地张开花瓣，尽情地吸着空气和阳光。饱吸了阳光的花朵似已融化在空气中，深黄、浅黄、柠檬黄、橘黄色的花辩，多么辉煌，多么灿烂夺目。凡高把心中全部的爱赋予可爱的向日葵，向日葵也为凡高吐出“爱的最强光”《向日葵》中注入的是凡高心中强烈的感情，令人震撼、令人感动，这就是《向日葵》所产生的魅力。他怀着强烈的感情不厌其烦地画他最喜欢的向日葵，强烈地表现画家对这一客观事物的主观感受。他擅长使用强烈的色调，充分发挥色彩的感情因素，使色彩成为他表达思想感情的重要手段，这便是凡高艺术的重要特色。

Oil painting is the predecessor of the fifteenth Century in Europe before the painting in tempera, after the painter Jan Van Ike (Jan Van Eyck), (1385 -1441) of painting materials to carry forward the improved. Inyan Van Ike made a unique contribution to the in-depth development of oil painting art skills, praised as the father of oil painting". Many modern oil painting pigment is mixed with linseed oil, after processing the cloth or wood paint, oil paint is dry because no color, variety of color harmonic does not become dirty, the painter can draw the rich and vivid colors. Oil painting opaque, covering strong, so painting can be from deep to shallow, layer by layer coverage, so that painting a three-dimensional feeling.
Painting has become the history of Western painting in the way the body painting, and Western paintings are mainly paintings. With the development of oil painting gradually in the period of life, which is an ordinary woman "Monalisa" is the most famous and widely circulated. In the late nineteenth Century, due to the development of science and technology, many new materials used in the field of oil painting, such as acrylic paint, paint, etc..

foreign country
The classical oil painting is the result of the comprehensive use of oil painting language and other factors. R. Kangping three annunciazione "on the altar painting" carefully presents all indoor and outdoor scenery. Italy is the first Titian with particular emphasis on the expressive force of oil painting artist, he painted in dark ground, the magnificent golden hue and lightness to constitute bright colors used, slightly different hue, transparent pigment multiple overlapping, thick and thin and brushwork, and the color and shape of organic combination, to create texture effect.
From the beginning of eighteenth Century, the oil painting art also in the society, culture, science and technology under the impact of multiple factors, the Fantian complex changes, all-powerful. More schools, more thinking, more creative, more profound theory and more extensive influence, Jiyang, deconstruction, rebellion, zhengqidouyan, All flowers bloom together. Chinese painting first appeared in the coffin of appliances, according to Zhou Li, Han literature written two thousand years ago Chinese has useful "oil" the history of painting. The usual argument is 1581 Ricci with God, Madonna to Chinese, began Chinese paintings, including a "wooden beauty" works, has lasted for five hundred years, is still faintly visible style quaint thick.
China
Kangxi, Lang Shining, Pan Tingzhang, Ai Qimeng and other missionaries to worship the palace painting, Western painting techniques into the palace; Yong Zheng, Qianlong Palace (i.e. Manchu slave) coating was appointed to the emperor, learning painting to missionaries, but did not leave any trace of. In 1840 the outbreak of the Opium War, Chinese and Western culture collision, the rise of Museum, folk painting painting workshop, painting also improved. But at this time due to the "low status, cultural literacy is also limited, so that their works failed to enter the high level of culture, the formation of a new independent culture.
The reform of the reform movement of 1898, many young students went to Britain, France, Japan and other countries to study western painting, they are: Li Tiefu, Li Yishi, Li Shutong, fenggangbai (Hong Yi, Lin Fengmian, Xu Beihong, mage) Liu Haisu, Yan Wenliang, Pan Yuliang, Pang Xun, Chang Shuhong, Wu Dayu Qin, Tang Yihe, Chen Baoyi, Guan Liang, Wang Yuezhi Wei Tianlin, Xu Xingzhi, Ding Yanyong, Ni Yide, etc.. These people returned to bring the western and Japanese advanced teaching methods and ideas, such as the 1911 Western Returned Zhou Xiang founded the first school of art Chinese; 1912 Liu Haisu founded Shanghai painting academy, and for the first time using the human body model sketch; 1919 served as Minister of education advocated by Mr. Cai Yuanpei opened the first National School of fine arts, Beijing art school, (President Lin Fengmian); 1927, Centre College Department of Art (Xu Beihong director); 1928 in Hangzhou founded the first National University of Art College (Lin Fengmian Dean) etc..
The three main schools of this period are: Realism (Xu Beihong); new school (Lin Fengmian, Liu Haisu); Modernism (Pang Xunqin).
Many domestic oil painting as a weapon, reflect the war, to expose tyranny, such as Wang Shikuo's "bloody" Taierzhuang, tangyihe the "victory and peace", Joe Stuart's "put down your whip" etc.. Some artists because of the war went to the northwest and southwest minority areas, creating such as "negative water girl" (Wu Zuoren). "The shepherdess" (Dong Xiwen) and other works. In this period Chinese is in the flames of war era, without a stable social environment, oil displaced. During the war, Yanan at this time, the painter's style by the influence of "literature and art in Yanan" speech at the forum, the tendency for the worker peasant soldier "." The realism of Xu Beihong coincided with the time and gradually formed a standardized China painting.
In 1964, "all class struggle" under the slogan of Lin and Jiang Qing in literary and art circles a cultural sweep. Many painters have been plundered, bell culvert "Yin River", "Du bond in the stream", Li Huaji's "forward", Qin Princess Wencheng syndrome "home" is the unwarranted public criticism, and have been destroyed. The influence of the "new art and people must be combined with the view of realism, dominate the world, still life, landscapes, figures and other themes are ignored. During this period the birth of a number of revolutionary history paintings, such as Hu Yichuan's "Wang Shikuo", "open and army" and Luo Gongliu's "tunnel warfare", Dong Xiwen's "founding ceremony", "Li Zongjin and Ai Zhongxin" flying from Luding Bridge "Snow". With the mass movement, Chinese painting entered the "overall Sovietized" situation, the oil painting teaching by Pavel Petrovich Cisca Kopf teaching system as the core of China painting quickly became the single teaching system, and cultivate a group of backbone of oil painting. Since then, a group of painters in the extended "nationalization" spirit of a single oil system of a breakthrough, the formation of Luo Gongliu's "in Jinggangshan", Li Huaji "Yuan Yunsheng" Princess Wencheng, "water", "Xu Jianbai" and other works of the first home.

On the other hand, oil painting has become a tool to create God, Chairman Mao went to Anyuan became a typical work, printing at the time amounted to more than one hundred million. At this time, some young painters began to emerge, such as Chen Danqing, Shen Jiayu etc.. Representative works: "never truce", "the Yellow River song", "tears", "I harvest fields for the great motherland guard" etc..
After the cultural revolution, is the opening period, various forms of painting will be raging like a storm have become rich and varied forms of painting. The Luo's "father" and Chen Danqing's "Tibet paintings", Wen Lipeng's "daughter of earth", Zhan Jianjun's "looking back" are the masterpieces of this period. After the initial period of painting and art spewing, reached a new crossroads, Chinese painting the urgent need for a more modern, more fresh air. Among them, Hu Tilin Jia Difei's "general Yang Jingyu", the "Su aunt home", Yu Xiaofu's "I gently knock", in the "corner" Yunfei Park and other works, in the contemporary consciousness under the care of the new development of theme painting.
However, although the culture of imprisonment has been lifted, but due to various reasons (mainly for economic reasons, the vision and thinking) most of the artist is not fully open, in order to change the world enjoy the numerous and complicated, and the lack of real representative works. But after all, China's oil painting has entered a new era, is learning, transformation, and constantly rich.
classical
The development process of oil painting has experienced several periods of classical, modern and modern times. The oil paintings of different periods are dominated by the artistic ideas of the times and the constraints of techniques, showing different features.
The historical conditions of the early development of oil painting laid the realistic tendency of classical oil painting. In fifteenth Century the European Renaissance, humanism for criticism of religion, with a focus on the positive requirement of social reality, many famous painters to gradually get rid of a single Christian classic theme creation, to observe and direct depiction of the then life figures, landscapes, objects, so that the works of religious subject with the reality of secular factors with obvious, some artists fully depict real life real. Renaissance painters inherited the Greek, Rome's artistic concept, which not only focus on work to describe an event or fact, but also reveals the antecedents and consequences of events or facts, thus forming a typical plot and pay attention to the idea of creating typical image art. At the same time, painters also explore the anatomy, perspective in the use of painting, the role of light and shade distribution, forming the scientific principles of modeling. The use of human anatomy to the figures in the painting are as real as accurate proportion, shape, depth and space structure; establish perspective focus make painting form through the composition of the illusion, instant visual perception and reality in the directional scenery in the same darkness; make images in a unified picture issued the main source of light, forming a clear hierarchy from the near to the distant. Humanistic art theme and the pursuit of realistic modeling concept in other paintings can not be perfected, because of the limitations of tool materials, and oil painting tool material performance is suitable for the two fully reflected. Thus, the classical oil painting has been a long-term production, highly realistic appearance.
As part of the seventeenth Century oil painting emphasizes painting light perception, creative use of color, light intensity comparison and contrast of changes in temperature level thickness contrast light, form a picture of dramatic atmosphere. Caravaggio Italy painters before he ordered painting in the light of harmonious effect, he strengthened the picture contrast between light and dark, often with a large dark background picture plane off a bright foreground figure, feel the light. Spanish painter el. Greco will be treated as objects in mottled light, he is not from the shade two decent shape dark distribution but from discontinuous scattered, the color changes in temperature also form a continuous change, continuous pen dignified, color level of permeability in extrusion of each other, the screen gives a whirling effect, some even filling a mysterious and disturbing atmosphere. Holland painter Rembrandt also put the light as a means of expression of people's mental state, he made many portraits, figures are shrouded in dark blocks, only show brightness important part of face, hands and other distinctive. He used the calm color in the dark with thin layers, the dark is deep, light painting is coated with thick and painting knife pile method, resulting in heavy volume. At the same time, the use of strokes is also emphasized by many artists.
Modern
The development of oil painting in nineteenth Century has a new trend, mainly the change of oil painting color. The earliest British painter Constable J. directly with the painting in the outdoor painting, rich colors, with fine brushwork in his local color to blend into juxtaposition, distinctive color, the picture is the classic brown tone MingMuch brighter. The color of the color - color color wheel poles can enhance each other principle lightness and strength in juxtaposition, in later scientific understanding, but Constable with observation of the natural emotion obtained in practice and the principle of complementary color, in part by. His work has inspired the French painter Delacroix e.. Delacroix dominated creation by Romanticism and created a large theme painting according to the historical events at that time. He will be more applied to the complementary relation between the creation of color performance, using active strokes, contrast color in many parts of the picture, enhances the color brightness and gorgeous feeling, forming a shock when painting style. Many painters of the French Barbizon School of landscape painting in the natural climate conditions of different understanding of the relationship between landscape light color, natural color and environmental color, realize color to reflect the time, environment, atmosphere, foil art theme, constitute a major significance of artistic conception and emotion regulation. They created a large number of landscape painting natural wind, rain, morning, twilight and other specific color atmosphere.
European oil painting in the nineteenth Century has a clear artistic proposition of the genre, although mainly reflected in the theme and content of art, but the oil painting techniques are correspondingly different. Like the neoclassical painting images focus on rigorous and solid sense, the classical traditional style rule; romanticism around the theme of the tragedy, and strive to tension in color, brushwork and movement factors composition lines create painting plot; a focus on the expression to the figure in the painting mood, more pictures in the green, purple, a sentimental, green tone quiet mood. Although the modern painting of the face is relatively rich, but have the overall characteristics of the realistic, their common performance: a painting is a unity of art form, color tone unified picture the local color, local color form a harmonious relation in transition in the gradient of each other, there is no isolated color; basic strokes it is used for shaping the image of the exposure level is limited, and unified in the long long or short, or some orderly disposition; unified images were depicted at the centre of the composition, formation and effect of real horizon isomorphism.
From the beginning of the end of the nineteenth Century, has undergone a fundamental change in Western painting. The narrow artistic function and integrated realism technique of traditional oil painting have already reached the saturation of their own system, so they tend to disintegrate in the change of philosophy idea and art idea. Oil painting no longer imitates nature and reproduces nature as artistic creation principle. The artistic image of artists' free structure is regarded as new reality. Artists no longer depict nature through oil painting forms, and use oil painting forms as the media to express their spiritual and emotional world. The three painters after impressionism first abandoned the traditional oil painting mode. V. in acute disease Van Gogh bold strokes, the strong, bright colors, full of strong sense of power, expressing the inner emotional discomfort. P. in a symbolic color and shape and composition, work space and traditional forms of conflict, mysterious atmosphere with non descriptive. P. Cezanne exploration and research with geometric form of artistic image, create a picture is a world full of their own order. Their work has become a symbol of painting face upheaval.
Contemporary
In twentieth Century oil painting, from different artistic ideas of different genres, and restrict the art forms a variety of tendency, factors of traditional painting techniques in the form of art is often used as a concept to be strengthened, and even to the extreme, a form of painting language is highly valued by. For example: the main body and neglect the color for free structure Cubism; focus on the strong color
The effect of equilibrium state in the Fauvism; through the disorderly use of color and brushwork expressive expressionism distorted psychology; abstraction of pure color in the point, line and surface composition; and pigment random rejection, splashing, dripping on the canvas of abstract expressionism etc.. In the past hundred years, the western modern oil painting schools are numerous and complicated, replacing one after another, as long as the oil painting tool material is the modeling medium, the artist can create any oil painting appearance.
With the concept of art continues to expand, resulting in the combination of painting materials and other materials, the comprehensive art does not belong to a specific kind of painting, oil painting and therefore to lose painting as the main position in the western trend.

Sketch draft
Generally speaking, just sketch the rough draft with few random lines outline the general shape of the images, and the final result is decided to screen color molding. For artists employing direct drawing, sketches may be so. For classical realistic painting artists, sketch manuscript is very important, it is all the artist modeling language. Because the sketch is the most basic art expression way, is the artist and the nature exchange first step. Here we examine the young painter of his sketches, as shown in figure 25.
(1) draw a tentative draft first, draw the big picture and the general expression with the pencil on the paper, then carry on the sketch to the model. Painters in sketching more sensitive factors, the figure and appearance as close as possible to the object.
Exquisite paintings of photo album
Exquisite painting album atlas Atlas
(2) temperament fully appreciate the model in the painting process, firmly seize this opportunity to strengthen the open spirit. Then, the painter processing, summarized and refined according to the sketch draft.
(3) on the basis of the continuous transformation and language purification of the first two sketches, the creation of the third sketches. This step emphasizes contour processing, so that the shape is more plump, people in the role of light and shade to produce a sense of relief. At the same time to the local content to be enriched, draw more sure. After the sketch was finalized, the artist copied the sketch onto the canvas in an extremely rigorous way (grid enlargement). From this point of view, the sketch is a flexible modeling process, which allows even encourage continuous modification and adjustment, all of which are to determine a clear and satisfactory visual image. At the beginning of any painting, there is reason and necessity to spend a lot of time sketching. Sketch is not necessarily on the tune, can be directly modified with the line on the canvas, adjust, you can also use a simple color to determine the main color and color of the screen relationship.
Here are some tools for drafting.
(1) charcoa. Carbon and charcoal are suitable for drawing on canvas or wood. Better performance of charcoal, because it marks the lighter, easier to wipe up more flexible. Carbon rod can leave a heavy line, the contour line is clear.
(2) a. The line is fine, more suitable for painting details. Some people do not advocate the use of a pencil that will come up from the oil pan sealing layer underneath.
(3) color chalk and crayon. Not easy to use on canvas, to avoid the use of white or light color. Too much use of pastels or crayons in this sketch can make the foundation unstable.
(4) watercolor and acrylic color. Thin of color painting watercolor will not cover any impact. If you want to use thick coating, acrylic color.
(5) ink and wash. The use of China ink painting, is a very interesting thing. Moxian can use oil painting color cover, can also be retained, it will not easily be turpentine wash.
(6) carbon paper. The copy paper sketches to the canvas. In the sketch stage, hair glue, glue and other liquid is indispensable. For easy shedding or color of the material is necessary to spray a layer of fixative. In addition, a variety of rubber cloth is a must-have.
Material tool
The use of transparent vegetable oils and pigments, in the production of basic cloth, paper, wood and other materials to shape the image of art painting. It originated and developed in Europe and became an important painting in the world in modern times. The painting of European painting before fifteenth Century was the predecessor of oil painting. In the use of egg color painting at the same time, many artists continue to look for a more ideal harmonic agent. Generally, the early fifteenth Century Dutch painter Van Eyck brothers is the founder of painting techniques. They try to base on the previous oil dissolved pigment, linseed oil and walnut oil as additive in painting, depicting fortune smooth pen paint on the screen drying time is moderate, easy to paint in multiple cover and modify, forming rich layers of color and gloss, dry paint adhesion, not peeling and fading. They use oil painting materials to create new and very influential at the time of the painting. Oil painting technology quickly spread in other western countries, especially in Italy, the rapid development of Venice.
The main materials and tools with oil painting pigment, turpentine, brushes, painting knives, canvas, varnish, frame etc..
The pigment, mineral and chemical synthesis of two categories. The original paint for mineral pigments, by manual grinding into powder, paint to reconcile in epistaxis. Modern batch production by the factory, into the tin tube, pigment species are also increasing. Chemical properties of the pigment related, color, chemical effects will lead to adverse reactions between some paints. Therefore, mastering the performance of pigment helps to give full play to the oil painting skills and make the works color unchanged.
The turpentine is a volatile oil for medical use. In the painting in the modulation of the effect of diluting the pigment. One or two minutes to evaporate completely, dull dry. The turpentine oil and oil color according to a certain proportion of mixed use, dry faster, color is bright.
The brush is made of elastic medium animal hair, a rush round, flat front flat, short front flat and fan type.

The painting knife, also known as the palette knife, made of thin steel sheet elastic, with sharp and rounded points, used to mix on the palette of pigments, many artists were written with a knife, with a knife or partially paint directly on the canvas to form paint level, texture, increase the expressive force.
The standard canvas, canvas, linen or canvas is tight on the wooden frame, with glue or oil and white blended and painted on the surface of the cloth and production. General made no oil but also has a certain effect: foundation, or according to the creation of the need to make a semi or fully oil based oil. The thickness of linen depending on the scale, according to the need of drawing effect selection. Some artists use color painted canvas, easy to form a unified color screen, the paint can also inadvertently exposed background. After coating bottom production, not oil absorbing wood or cardboard can also replace canvas.
The oil in the oil painting, usually completed and dry cover coating varnish, keep the picture gloss, prevent air erosion and fouling.
The complete works include oil painting frame, frame, especially the oil painting strong, frame forms of works from the perspective of the viewer boundaries, make the picture complete, concentrated, the painting object in the viewer's feeling towards the depth of development. Frame thickness size depends on the content of the works. The frame with classical painting made of wood, gypsum, modern oil painting frame made of more Aluminum Alloy metal materials.
Color language
With the development of oil painting, we can see its beauty is constantly digging and creation.
Oil paint thick accumulation function and strong plasticity is unmatched by other kinds of painting, the characteristic that the painting can produce and people thought emotion resonance rhythm and dynamics in perception. In the role of the pen, shaping not only to complete the task of modeling, but also on the texture of the screen effect has a direct impact. Rembrandt, Lubensi are good at mastering and controlling the texture of the people, because the texture directly convey the artist's psychological feelings, affecting the work of infection. Reasonable performance includes not only the so-called texture texture on the texture of the object of imitation and reproduction, also includes the description and the overall performance of the mood on the screen. In the traditional realistic painting, the texture is capable of texture reconstruction task, object fine and coarse texture are available corresponding texture to imitate, but this is a very passive behavior, but the real beauty is a thing of the texture is who can express the picture of the rhythm and the artist's emotion, has the height of the texture of harmonious order. This texture is often beyond the limitations of the spirit of the texture of gas throughout the entire picture and the viewer's heart, become separate from the beauty of the concrete layer. In this sense, it is abstract. But in the traditional painting which in turn attached to the realistic object, fusion by the overall atmosphere of small to large.
Transparent color
Is not white but are oil color pigment dilution multi-level description. The next layer must be painted after each layer is dry, since each layer of color is thinner, the underlying color can be faintly revealed, and the upper layer color changes subtle tones. For example, in the deep layer and cover with blue, blue and UV will produce cold Yu in the warm rich effect, which is often not out of the color palette. This technique is suitable for showing the texture images and thick sense, especially to vividly depict the characters delicate skin color change, feel the skin under the skin blood flow. It is the shortcomings of narrow gamut, exquisite production process, complete the work a long time, not easy to express the painter's artistic creation of instant emotion.
Opaque color
Also known as hierarchical coloring method
When painting with monochromatic draw large body appearance, and then use the color of multi-level shape, dark often painted thin, medium and light layers of thick coating, or cover or stay, the formation of color contrast. Because of uneven thickness, rich color and texture with rhyme meaning. There is no strict distinction between the two methods of transparency and opacity.
Comprehensive use of paintings. In the dark shadow of the performance or images, with transparent color method can produce a stable and profound sense of volume and space; complex opaque color method outside the body in the dark is easy to shape, increase the color saturation. Before nineteenth Century, most of the painters use the two kinds of drawing, production time is generally longer, some painted a layer after layer to be placed for a long time, completely dry after paint.
Opaque coloring
Also known as direct staining method

That is to make images on the canvas body contour, by virtue of the images of the color of color feeling or idea of laying color, basically a finished, not the right place to continue to adjust the color after scraping knife painting. This painting in each dip of the pigment is relatively strong, high color saturation, strokes clearer, easy to express the vivid feeling when painting. Many artists more mid nineteenth Century after using this method. In order to make a full effect to the colored color, must pay attention to the use of gesture namely coating method, coating method used consists of coating, powder coating and coating thickness. Is the use of one-way color intensity, uniform style painted a large area color, suitable for shaping the static form in the smooth and stable composition; powder coating refers to the natural tendency of the painting form on the basis of turning the brush strokes, loose and flexible; thick coating is whole or partial thick pile of pigment. Some form of up to a few millimeters in colour or color, the pigment showed texture, taste, the image has been strengthened.
The oil painting example (Figure): contour techniques
However, the advantages of monochromatic light coating has its dark tone significantly, especially the object of painting is very complex and difficult to grasp the painting posture, its advantages are more obvious. First, because it is monochrome, in the drafting stage can let go to solve the problem of sketch and composition, do not need to take into account the color. Second, with a shallow layer of thin can be repeatedly modified, not general painting because the altered too much clutter and pollution problems. In the drafting stage to solve the problems such as sketch, color and edge, then focus on the colour and structure, would be easier.
The first step: the middle tone and cooked brown ivory black tone synthetic micro warm, to be cooked brown, add the turpentine thin, transparent, with bristles on the canvas pen (with a moderate degree of roughness, the dark canvas) - hair area and body painting. Draw the hair with a little thicker color, which add a little less turpentine in the middle tone contract kind, hair over the entire face, but it should be able to express a strong expression in the. I don't handle hair as a hair, and handle it as a dark hue that determines the size and shape. Even in the early stage, and try to draw accurate shading sketch. Draw a quasi local, then draw another local quasi. Each part is interrelated, part of the painting will not affect other, and the whole situation can not control.
The second step: this step is to put the human body image clearly drawn out. Use a soft cloth to wipe some of the original tones along the human arm and the upper surface of the arch knee to create a bright level. For bristle pen in the outstretched leg and back to wipe some more, resulting in light level, and make the whole arm to form an intermediate tone. You can use a clean soft cloth or a pen dipped in turpentine change tone, but in a profile stage absolutely can not use an opaque white. At this stage, sideline problems and shading, the sketch is equally important. From the top of the shoulder to the wrist and knee extension, through these lines are pretty obvious, but from the bottom of the long arm wrist armpit to the lower edge of the line is not so obvious, this is not an accidental phenomenon.
The third step: in the body to draw the main light all. Head, arm, shoulder and knee bent temporarily not to touch them, first in the lower torso, hips, legs and folded the outstretched leg development bright tone. These parts of the original color already dry, use a soft cloth dipped in turpentine wipe it away. The rest seems vague, but still accurate. The tone and shape are correct, and the location is appropriate, except for a particularly bright part.
The third step, with various methods on color. In the forearm, shoulder blade parts of triceps and back, with heavy flat strokes. In the middle of thigh lift, knee and chest, basically is with a palette knife. In the arms, legs and feet between the lift, and the pelvis behind these shadows, with a thin and transparent pigment. In the whole process, is very important to maintain transparency in the dark. Strong light opaque and strong transparent shadow interaction, bring the human body three-dimensional sense. In the processing stage, but also the dark spots under her arm gently scraping with a palette knife, these dazzling spots are formed in the horizontal strokes thick rough surface structure on the canvas. In addition, also will open the hips and legs underneath those ugly strokes smooth some badger brush. Badger Brush and mink brush can form a beautiful soft brush, but adverse effects often appear weak loose, must pay attention to the use of. The finished body: oil on canvas, 20 "x 30". In the completion stage, focused again on the sideline processing. In the form of turning obvious places, such as the knee up to top edge clearly; in the body turning round, such as the lower part inside the lift leg and hair on the left edge and background confluence, edge blur. On the shoulder and on the foot that is disturbed, with thick coating (that is, with thick pigment on the surface).
Technique NOUN
Contusion
Contusion is a method for coloring the painting pen to the roots, according to write after a frustrated move and then lift up the front line, such as calligraphy, vigorous and strong. The difference, pen and brush root dip pen color according to the weight of different direction can produce a variety of changes and fun.

With a wide brush pen or fan pen dipped in color on the screen after the technique of gently pat called beat. The racket can produce a certain undulating texture, neither very obvious nor too simple, but also can handle the original too strong strokes or colors to weaken.
Knead
It refers to the picture of two or several different color pen directly exercises the method of color change produced naturally and mixed operation, obtain the color contrast and the brightness of delicate and vivid, and can play the role of cohesion in transition.
Line
The line refers to a pen sketch painting line, hook line generally with a soft tip no clue, but in a different style, round, sizing and old flat pen can also lays out a similar book center like thick lines. To the western painting are line shape, in the early paintings are usually in the precise contour lines drafting, winding method of tempera techniques is the main means of the formation of light and shade. Western oil painting later evolved to light and shade and body first, but in spite of this, oil painting midline factor has never disappeared. Fine, bold. Neat or be careless and repeatedly staggered pressure using various lines, the painting language is more abundant, with different body line is very important. The Oriental painting line also affects many western style modern masters, such as Matisse, Picasso, Van Gogh, Miro and Klee are wire master.
sweep
Saul is often used to connect the two adjacent blocks, which are not too stiff, while the color of wet to dry
The fan gently sweep net pen can achieve this purpose. Also at the bottom of the color pen to another color sweep up to produce staggered up and down, loose and not greasy dead color effect.
Stamp
A hard bristle brush dipped in color with a pen head vertically on the screen will stamp the pigment. His method is not very common, usually only when the local need to use special texture.
PULL
La refers to oil painting sometimes need to draw lines and edges strong sharp sword is picturesque or glass side, when available, adjust color painting knife blade side will pull the line in the picture color color or color surface, draw out these forms is certainly solid, brush or other methods to achieve the.
wipe
Rub the brush with the brush of the abdomen in the recumbent, screen drum brush, usually wipe with less color large area, can not form obvious strokes, commonly used method is the color layer. Draw a similar effect can be used to clean the painting feibai brushwork in the dry color or rolling texture, so that the underlying texture is more obvious.
Suppression
The bottom surface of the knife is gently pressed down on the wet color layer, and the surface of the color can generate special texture. In some places need to depict special texture with suppression techniques can achieve the desired results.
Masonry
The method is built with a knife instead of brush, like Mason trowel ring that will build to the canvas color bottoms up, leaving marks directly. For building methods can have different levels of thickness, size and shape of the knife with a knife and a different direction will produce rich contrast. With the transfer of different color painting knife is not excessive blending, the picture is naturally mixed can produce subtle color relations. The method can also be used with the color of the fluctuation is too large flat stone. Masonry method if used properly, there will be a strong sense of molding.
Mark
Planning refers to the painting knife blade in the wet color to depict Yin lines and shapes can expose the underlying color. Different painting knife can produce different shades of depth and brush strokes and knife painting techniques generated color surface formation point, line, surface to the ups and downs of texture changes.
spot
Since the point point method, all are starting point in writing. As early as in the classical tempera technique, is an important technique of a descriptive expression level. In the works of Vermeer also use point strokes to show the flashing of the light and object texture. When the color became one of the impressionist style of its basic characteristics, but Monet, Renoir and Pissarro point method has different changes and personality. Is Neo Impressionism to the extreme, the mechanical point as its sole style. Modern realistic painting is also used to point density to produce the brightness level, the transition can cause positive and flexible. The method in comprehensive painting and line and a decent combination can produce rich contrast with different shape and texture of oil painting brush strokes and can produce different point, play a unique role in the performance of some object texture.
shave
Is the basic purpose of oil painting knife scraping, scraping method is generally used to blade scratch the picture is not ideal, but also with a knife scrape off the unnecessary details or weaken the relationship is too strong, make picture of the relationship between relaxation of tension down. At the end of a day often need to finish the finished part of the color scraping with a knife in order to dry in time, second days and then painting. Color can also be used after painting knife or razor uneven uneven scrape some. Also can scrape with a knife in the wet color layer, to expose color to show various texture.
apply
If the point drawing and outlining method is the means to form oil painting points and lines, then coating is the main method to constitute the oil painting. The method of coating, coating thick coating and thin coating, also have a method called Impressionism stippling coated powder. Color is the main method to draw a large area of color, uniform coating is also commonly used techniques of decorative painting. Thick coating is painting the main features different from other kinds of painting pen, paint can make certain thickness produced and left obvious strokes and the formation of texture. By drawing a thick paint scraping knife to or directly to the paint squeezed onto the canvas, can be called heap coating. Thin Xu is the oil dilute the color after the thin coated screen, can produce transparent or translucent effect. Powder use pen is flexible and vivid. Combined with the coating method is also known as the halo with rubbing sweep.
pendulum
Use a pen to paint directly on the canvas no more changes that is one of the pendulum swing, brushwork painting basic. Pendulum method commonly used in painting at the beginning and end, to find the relationship between color and shape with a certain color and accurate key strokes, often only a few pen can make the picture changed, of course, you should first do have ready plans to meet a situation before work.
 

Clean
Oil painting in the preservation process will inevitably become yellow darken, this is due to the surface light oil oxidation results. So far there is not a light oil will not be oxidized, remove the old light oil re glazing is the only way to recovery the original works. Cleaning solvents are commonly used:
(1) turpentine. The old painting is weak, while the new color effect is strong, especially with hot water after heating with better results.
(2) refined gasoline and benzene (toluene, xylene). Dissolving capacity of the resin than strong turpentine.
(3) ethanol (alcohol) and methanol (wood alcohol). Is a strong solvent resin.
(4) acetone and chloroform. Can quickly dissolve resin and oil. Art supplies store cleaners are generally mixed with several solvents, strong solvents can not be used alone. The use of modern painting in light oil resin, can be washed with turpentine. The older painters use oily lustering oil, turpentine and ethanol mixed use need. Acetone is only used as additive when cleaning ancient works.
(5) hydrogen peroxide. There are many rare white pigment material is lead salt, in air containing hydrogen sulfide gas trace, when hydrogen sulfide encountered lead ion, chemical reaction will occur, a near solid black painting PBS, darken, and hydrogen peroxide can be oxidized into sulfate white lead sulfide.
Wipe method: white cotton ball (medical stores) with cleaning agent from a corner of the screen to do circular wipe, wipe every part of time is not easy too long, so as not to damage the layer. After the ball was stained with yellow light oil to replace immediately. The first time most of the old light oil can be cleaned, cleaning second times for the stubborn part can join the strong solvent. For extrusion and damage caused by dirt and stains can be removed using the tool of fly shit.
Commissioned repair process
Oil painting restoration principles and basic repair process
First of all, do a detailed repair before the test, inspection process can be divided into four aspects:
One, works textual research
And understand the author's works for the artist's related information and painting characteristics, such as a painter used material, color, style, style, creative ideas and aesthetic point of view. This research can make teachers and repair works to create a deeper level of understanding, in the repair can be more accurate to the original works creative features.
Two, state assessment
We must first determine the techniques of painting is painting or gouache, size, recording the theme of his works, the artist signature, date of completion, the inner frame and the outer frame storage status, in-depth analysis and record the basic situation.
A substrate: resolution of substrate material used is flax, jute, hemp, cotton, blended fiber, wood fiber board or fixed way is used to nail nail or nail gun; save the situation without damage, corrosion, damp mildew, insects and microorganisms or the phenomenon of infringement; whether after the previous repair, the repair mode and application of the adhesive materials.
B, basement "primer": to understand the substrate "primer" color, there is no substrate separation, floating, cracking, spalling or microbial phenomena.
C, painting layer: analysis of the use of paint coated adhesive; painting layer of thick and thin; color is bright color, grey or dark color: the color is transparent or opaque painting painting techniques: delicate strokes or rough; painting layer is cracked, partial or full crack, how to crack the depth, whether start peeling phenomenon; color layer surface blisters. These factors on the degree of assessment and analysis.
D, the protective layer: first to identify whether there is coated with a protective layer, full or partial, the number of coating, the thickness of the transparent color and carefully distinguish. Van Ness colours whether a lesion or bad microbes.
Three, laboratory diagnosis
A ultraviolet irradiation: ultraviolet irradiation can be seen through the protective layer and paint layer, when the UV light irradiation showed blue violet light refraction in the work surface, using the refraction of light, can determine the chemical reaction of painting layer, pathological changes of protective layer.
B, infrared radiation principle: it is similar to the X light, but it's not like the radiation function of X light is so strong, but it is far more than the X-ray range of ultraviolet radiation, can reach the substrate coating layer and sketch layer, so it can provide a correct repair division data.
Four, picture archiving
Before and after the repair and restoration of works of art, there are two different painting feeling. So be sure to take photo archive before the repair for days after the comparison of witness. In addition, often need pictures in the repair process of the original as a supplement to grasp the whole of God works of color, composition and other key pictures. Focuses on the integrity of the work is back, within the frame, then applied to the segmentation of macro lens camera do Department close-up.
One, the preparation of the new canvas
Selection of fine particles, uniform fine linen, the canvas on each side of the big 10-20 cm frame than the original canvas. Stretch cloth in order to maintain a certain distance equal to the straight line, this will not cause the imbalance of canvas strength. Then water spray wet canvas, canvas after dry, hand rubbed on the canvas on the canvas, and then tighten. So repeated three to four times, will not have a new canvas is not harmonious, and increase the adhesion.
Two, the preparation of old paintings

A, removal and cleaning inside and outside the box: inside and outside the box demolition must not be any force, would have to be very careful when removing, so as to avoid harm to the painting layer and the substrate, with a vacuum cleaner dust suction surface will gently clean, or brush pen hair fine row application can also be in the job must be gentle and careful.
B: the picture on the canvas. The wood frame with acid free Kraft. Paste side of the screen, to avoid peeling in flattening process
For this phenomenon, covered with cotton on the screen, and then paste in kraft paper covered with cotton yarn paper. After the old framed picture around the cloth is four tension leveling in the dry nature tightening process.
C, the old painting back clean: after the old picture can be mounted over the cotton paper works to reverse back, back to the cleaning. Save the old general works a long time, there will be a lot of dust, germs, eggs attached on the back surface must be clean, otherwise it will affect the adhesion effect after transplantation.
One, cleaning screen
In the modulation of clean solvent, we must first distinguish the solvent strength, there are a lot of solvent in the use of materials, it will seriously damage the works used, sometimes even erosion works coat, the coat of soft texture, such as acetic acid, ammonia, acid amine are unfit for use. Commonly used solvents are: painting with pure white alcohol, turpentine, alcohol, acetone, benzene, xylene and other solvents, many can be mixed into two, three or even four used together, and every kind of solvent has its function and characteristics of dissolved materials, pollution in the complete works and depending on the extent of tolerance but. Either way, the most basic is to repair the teacher must first advance in a corner of the cleaning function of the solvent experimental works, make sure there is no problem to use, so as not to cause regret to work The cleaning process is hurt. The prepared solvent use cotton dip coated in the work surface and gently rub, gradually can be found due to infection of Van Ness to cotton layer or dust into dark yellow, usually until the cotton is no longer contaminated with any stains, generally can be determined is clean, and will not hurt the paint cleaning work. The success is entirely a matter of personal experience and judgment to repair.
Two, fill in the white pulp
If the work surface for spalling or damage is too serious, many hollow blank to fill the white pulp, make its reply smooth surface. The application materials of animal glue, take proper amount of water, heating water heating method, gradually add a little honey, phenol and slaked lime, will the white pulp on the heating of the blank shape and sag and surrounding the corresponding strokes. Fill in the white pulp is white.
Three, color
This work has caused many artists and academic controversy, because the color is from the repair of the hand of the teacher, so some people think that it would undermine the original aesthetic value. In contrast, others think it can be said that the premium works damaged. Complementary flaws addiction when it decided to first analyze the color layer, do reduction effect, complementary materials used should be made of high quality watercolor watercolor, the convenient application and no risk, because you can always be water washing. Color after dry, on the van Kniss (protection light oil) and then to repair the special paint, the paint can be easily removed with turpentine. This place should in principle than the surrounding light color to distinguish. Once, after all fill at days after can be easily removed. After more than a series of work in a shabby work was basically repaired, as fitted Frame work according to the work content and personal hobby.
The long-term preservation of oil painting should be the main task of collectors, to identify the causes of damage and be ruled out, so as to ensure the maximum extension of a work life. China major museums, Museum of fine arts is almost blank and the field of painting repair involves many aspects in oil recovery, worthy of further study. Article introduces the general situation of oil painting restoration, to arouse the attention of the fair.
Suspension technique
Compared with other kinds of painting in oil painting exhibition has its limitations. First is easy to reflect, in addition, with thick coating method emphasizes the texture of the screen texture, because of ups and downs and easy dust. In order to achieve better visual effects and protect the screen, the suspension should have a forward tilt. Painting face the light, the effect is often poor, should use the front side light, and as much as possible, consistent with the source of light at the hanging painting, such as painting of light source on the left side, should also be consistent with the light source when hanging.

In appreciating a painting works, mainly from the ideological content of the work, art skills to appreciate two aspects. Oil painting originated in the west, any painting works need to rely on visual image to reflect certain ideological content.
On the one hand, the image created by the oil painting takes the viewer to an artistic realm reflected by the painter, causing the sympathetic resonance and aesthetic effect. On the other hand, according to their own life experience, the viewer knows and enriches the connotation of oil painting. The understanding of an oil painting is not the same as the depth understood by others, it is connected with the quality condition of the spectator. Excellent oil paintings convey the ideological content, played a edifying sentiment,
Improve the role of the spiritual realm of art skills on the appreciation, there should be understanding of oil painting language and understanding. Oil painting material itself is different from ink painting prints, watercolor features, the beauty of this material is a major feature of oil painting.
Superb works are embodied in the painter mastered the characteristics of the material skilled use of materials and tools to shape the image. The picture reflects the whole and the local harmonious relations, the rich and the unification opposition relations.
"Sunflower" is where Gao painted in the south of France. Southern sunshine make artist ecstasy, he painted a series of still yellow, to express the inner feelings, "sunflower" is the representative of. The painter painted yellow sunflowers extremely dazzling with short strokes, each flower like a burning flame, crushing the petals and leaves of sunflower like flame full of the same picture, the picture is like fire across the canvas of the flame, show the painter cult of the passion of life.
"Sunflower" is the color of different brightness and different purity yellow paint, yellow background, yellow flower, yellow flowers. Deep yellow, light yellow, lemon yellow, orange, brown, with little green and green leaves and stems of painting,
With a little blue flower. The color with the vast vangogh. He used the yellow so touching that yellow played a moving charm. You see the air flowing in the golden sunlight, the sunflower petals open the bottle full of vitality, and breathed the air and sunshine. The full absorption of sun flowers seemed to have melted in the air, deep yellow, light yellow, lemon yellow, orange petals, how brilliant, how brilliant. The hearts of all the love given VanGogh lovely sunflower, sunflower to spit into the van Gogh love light "" sunflower "in the hearts of the strong feelings of Van Gogh, shocking and touching, this is the charm of" sunflower ". He felt a strong emotional picture of his most love not to mind taking the trouble of the sunflower, intensely subjective feelings of the painter of objective things. He is good at using strong colors, emotional factors, give full play to the color, the color has become an important means of expressing his thoughts and feelings, it is an important feature of the art of van gogh.