Artist Biography
Jacques-Laurent Agasse (1767-1849), French
Agasse was Born in Geneva in 1767. Agasse was the son of one of the oligarchic families who governed the republic. He experienced a privileged upbringing spending his childhood summers on their estate in Crevin. While at the estate he developed his love for horses and farm animals and spent his days sketching and drawing. He decided to enroll in the Ecole du Calabri and later studied under David in Paris.
After briefly returning to Geneva, he moved to England in 1802 where he lived until his death in 1849. He is often referred to as the Swiss Stubbs because of his ability to re-create the anatomy of animals. His pictures are sensitive to the subjects and are very naturalistic. His work is regarded among the finest of this period.
Jacques-Laurent Agasse Oil Paintings Reproductions
Dec 23, 2007
Edwin Austin Abbey
Edwin Austin Abbey (1852-1921), American
Abbey is an American painter and illustrator, active in England. He began his artistic training in 1866, studying drawing with the Philadelphia portrait and landscape painter Isaac L. Williams (1817--95). In 1868 he attended evening classes in drawing at the Pennsylvania Academy of the Fine Arts under Christian Schussele (1824--79). In the same year Abbey began to work as an illustrator for the Philadelphia publishers Van Ingen & Snyder. In 1870 Harper's Weekly published the Puritans' First Thanksgiving, and in 1871 Abbey moved to New York to join the staff of Harper & Brothers, thus inaugurating his most important professional relationship. Throughout the 1870s Abbey's reputation grew, both for his detailed exhibition watercolors and for his elegant line drawings, which, translated to wood-engravings in numerous periodicals, illustrated both factual and fictional events of the past and present. The influences on him were mainly English, in particular the works of the Pre-Raphaelite Brotherhood and illustrations in the English press, which he studied avidly. The success of his illustrations to some of Robert Herrick's poems, such as Corinna's Going A-Maying in Harper's New Monthly Magazine (May 1874), prompted Harper & Brothers in 1878 to send Abbey to England to do a complete series of drawings for an illustrated gift-book, Selections from the Poetry of Robert Herrick (New York, 1882). On his arrival in England, Abbey found his spiritual home, and except for a few trips, he never left. Abbey, a small, handsome, athletic man, had a genius for forging long-lasting and often profitable friendships. In 1877 he helped to found the Tile Club, which included among its members the architect Stanford White, Augustus Saint-Gaudens and Winslow Homer, whose activities resulted in gift-books and lengthy magazine articles. Abbey's most intense friendship was with the English landscape painter and illustrator Alfred Parsons (1847--1920). The two artists shared studios and gallery exhibitions, travelled together widely and collaborated on several projects, most notably the gift-books Old Songs (New York, 1889) and The Quiet Life (New York, 1890). Abbey derived much of the inspiration for these from his long sojourns in the English countryside, especially, from 1885 to 1889, as one of the central figures in the artists' colony at Broadway (Hereford & Worcs), along with Parsons, Frank Millet (1846--1912) and John Singer Sargent. Abbey undertook illustrative commissions throughout his life (his illustrations to Shakespeare's plays being especially noteworthy), but from 1889 on he devoted more time to mural projects and oil paintings. In 1890 he sent his first major oil, May Day Morning (New Haven, CT, Yale U. A.G.), based on one of the Herrick illustrations, to the Royal Academy Summer Exhibition, where it was favourably received. Until 1910 Abbey exhibited there frequently, and he was elected ARA in 1896 and RA in 1898. His exhibited works were usually based on Shakespearean, troubadour or Renaissance themes. Large and richly coloured, the paintings reflect Abbey's fascination with the stage, particularly in the arrangement of the figures, their poses and sumptuously coloured costumes (Abbey designed the costumes for John Hare's Tosca (1889) and Sir Henry Irving's Richard II (1898), among other productions). Although he received many honours and awards, the signal event of Abbey's career was the commission in 1902 to paint Edward VII's coronation (London, Buckingham Pal., Royal Col.). The major projects of Abbey's later life were commissions for murals. He decorated the delivery room of McKim, Mead & White's Boston Public Library with a 15-panel series (1890--1901) based on the Quest for the Holy Grail (see fig.). Works for the Royal Exchange, London, and other commissions followed. In 1902 Abbey began the decorations for the Pennsylvania State Capitol at Harrisburg. An allegory of the state's history and its resources, Abbey's work here departed from the schematic narrative of his other murals and adopted a full-blown rhetorical style related to the work of Kenyon Cox and Edwin Howland Blashfield.
Abbey is an American painter and illustrator, active in England. He began his artistic training in 1866, studying drawing with the Philadelphia portrait and landscape painter Isaac L. Williams (1817--95). In 1868 he attended evening classes in drawing at the Pennsylvania Academy of the Fine Arts under Christian Schussele (1824--79). In the same year Abbey began to work as an illustrator for the Philadelphia publishers Van Ingen & Snyder. In 1870 Harper's Weekly published the Puritans' First Thanksgiving, and in 1871 Abbey moved to New York to join the staff of Harper & Brothers, thus inaugurating his most important professional relationship. Throughout the 1870s Abbey's reputation grew, both for his detailed exhibition watercolors and for his elegant line drawings, which, translated to wood-engravings in numerous periodicals, illustrated both factual and fictional events of the past and present. The influences on him were mainly English, in particular the works of the Pre-Raphaelite Brotherhood and illustrations in the English press, which he studied avidly. The success of his illustrations to some of Robert Herrick's poems, such as Corinna's Going A-Maying in Harper's New Monthly Magazine (May 1874), prompted Harper & Brothers in 1878 to send Abbey to England to do a complete series of drawings for an illustrated gift-book, Selections from the Poetry of Robert Herrick (New York, 1882). On his arrival in England, Abbey found his spiritual home, and except for a few trips, he never left. Abbey, a small, handsome, athletic man, had a genius for forging long-lasting and often profitable friendships. In 1877 he helped to found the Tile Club, which included among its members the architect Stanford White, Augustus Saint-Gaudens and Winslow Homer, whose activities resulted in gift-books and lengthy magazine articles. Abbey's most intense friendship was with the English landscape painter and illustrator Alfred Parsons (1847--1920). The two artists shared studios and gallery exhibitions, travelled together widely and collaborated on several projects, most notably the gift-books Old Songs (New York, 1889) and The Quiet Life (New York, 1890). Abbey derived much of the inspiration for these from his long sojourns in the English countryside, especially, from 1885 to 1889, as one of the central figures in the artists' colony at Broadway (Hereford & Worcs), along with Parsons, Frank Millet (1846--1912) and John Singer Sargent. Abbey undertook illustrative commissions throughout his life (his illustrations to Shakespeare's plays being especially noteworthy), but from 1889 on he devoted more time to mural projects and oil paintings. In 1890 he sent his first major oil, May Day Morning (New Haven, CT, Yale U. A.G.), based on one of the Herrick illustrations, to the Royal Academy Summer Exhibition, where it was favourably received. Until 1910 Abbey exhibited there frequently, and he was elected ARA in 1896 and RA in 1898. His exhibited works were usually based on Shakespearean, troubadour or Renaissance themes. Large and richly coloured, the paintings reflect Abbey's fascination with the stage, particularly in the arrangement of the figures, their poses and sumptuously coloured costumes (Abbey designed the costumes for John Hare's Tosca (1889) and Sir Henry Irving's Richard II (1898), among other productions). Although he received many honours and awards, the signal event of Abbey's career was the commission in 1902 to paint Edward VII's coronation (London, Buckingham Pal., Royal Col.). The major projects of Abbey's later life were commissions for murals. He decorated the delivery room of McKim, Mead & White's Boston Public Library with a 15-panel series (1890--1901) based on the Quest for the Holy Grail (see fig.). Works for the Royal Exchange, London, and other commissions followed. In 1902 Abbey began the decorations for the Pennsylvania State Capitol at Harrisburg. An allegory of the state's history and its resources, Abbey's work here departed from the schematic narrative of his other murals and adopted a full-blown rhetorical style related to the work of Kenyon Cox and Edwin Howland Blashfield.
Carl Frederic Aagaard
Keyword: american oil painting,fine art print,oil painting reproductions
Carl Frederic Aagaard (1833-1895), American
Aagaard left his small town for Denmark’s capital to study drawing at the Danish Royal Academy; Copenhagen was the center of a spectacular resurgence of the arts. By the middle of the 19th century such great figures as Hans Christian Andersen, the philosopher Søren Kierkegaard, and the physicist H. C. Orsted had come out of Copenhagen. The art of the first half of the 19th century in Copenhagen was perhaps the greatest achievement of Denmark’s Golden Age. The sculptor Bertel Thorvaldsen and the painter Eckersberg led an artistic renaissance during the Golden Age that produced, with the establishment of an academy in Charlottenborg in 1754, the artists Christen Købke, Jens Juel, Constantin Hansen, Martinus Rørbye, J. Lundbye, Wilhelm Bendz, and Emanuel Larsen to name a few. The Royal Collections, what was later to become the National Collection after the peaceful transition to a constitutional monarchy, actively supported these new artists, buying these ‘modern’ pictures the moment they were exhibited. In the face of such disasters as the overwhelming defeat of their famed navy by the British in 1801, the English bombardment of Copenhagen in 1807 that destroyed hundreds of buildings in the small city and damaged over a thousand, and the declaration of national bankruptcy in 1813 and subsequent loss of Norway, Danish culture flourished with a willful energy and a unique character. Aagaard began his career towards the end of this great period in Denmark but was instructed by the country’s great artists while at the Academy. In addition to studying drawing, Aagaard assisted his older brother, a glass engraver at his professional studio. Aagaard next apprenticed in the studio of Hilker, a painter. Aagaard collaborated with Hilker on work at the University and other public monuments. He was then briefly associated with the painter Heinr. It was his final teacher though, the landscape painter Peter Kristian Skoovgaard, that was to be the most influential. In 1857 Aagaard exhibited for the first time to great success. He continued to exhibit and trips to Switzerland and Italy helped to perfect his style.
Carl Frederic Aagaard (1833-1895), American
Aagaard left his small town for Denmark’s capital to study drawing at the Danish Royal Academy; Copenhagen was the center of a spectacular resurgence of the arts. By the middle of the 19th century such great figures as Hans Christian Andersen, the philosopher Søren Kierkegaard, and the physicist H. C. Orsted had come out of Copenhagen. The art of the first half of the 19th century in Copenhagen was perhaps the greatest achievement of Denmark’s Golden Age. The sculptor Bertel Thorvaldsen and the painter Eckersberg led an artistic renaissance during the Golden Age that produced, with the establishment of an academy in Charlottenborg in 1754, the artists Christen Købke, Jens Juel, Constantin Hansen, Martinus Rørbye, J. Lundbye, Wilhelm Bendz, and Emanuel Larsen to name a few. The Royal Collections, what was later to become the National Collection after the peaceful transition to a constitutional monarchy, actively supported these new artists, buying these ‘modern’ pictures the moment they were exhibited. In the face of such disasters as the overwhelming defeat of their famed navy by the British in 1801, the English bombardment of Copenhagen in 1807 that destroyed hundreds of buildings in the small city and damaged over a thousand, and the declaration of national bankruptcy in 1813 and subsequent loss of Norway, Danish culture flourished with a willful energy and a unique character. Aagaard began his career towards the end of this great period in Denmark but was instructed by the country’s great artists while at the Academy. In addition to studying drawing, Aagaard assisted his older brother, a glass engraver at his professional studio. Aagaard next apprenticed in the studio of Hilker, a painter. Aagaard collaborated with Hilker on work at the University and other public monuments. He was then briefly associated with the painter Heinr. It was his final teacher though, the landscape painter Peter Kristian Skoovgaard, that was to be the most influential. In 1857 Aagaard exhibited for the first time to great success. He continued to exhibit and trips to Switzerland and Italy helped to perfect his style.
Dec 20, 2007
Refine Art Gallery Introduction
About Refine Art Gallery
-- oil painting factory,Oil painting company,china oil painting,oil paintings,Oil painting wholesale, portrait from hoto
Our goal is to "Decorative Your Life Wonderfully" by our products and services about oil paintings. We are a professional painting manufacturer and supplier with our production base in China. We can keep in touch with our customers, give them best services and provide them high quality oil paintings at very low price. We are dedicated to bring customers exquisite and highly-attractable artworks including oil painting, watercolor painting, printed painting. We also offer framing and mounting service.
Refine Art Gallery is one of leading manufacturers of hand painted oil paintings in the world, supplies a broad range of decorative artwork includes hand-made oil paintings on canvas or on board, watercolor paintings, frame, printed paintings, portrait paintings and etc. We can also create painting from photo to various styles. So the customer portrait created from your photo can be the most personal and unique gift you can give to your loved ones for their anniversary, wedding, birthday or any moment you would like to turn into a special one.
Refine Art Gallery offers various styles of oil painting, including impressionism, abstractionism, classicism, portraiture, nude, landscape, still life, contemporary, flower piece and master-works reproduction. Refine Art Gallery is also able to create relative paintings according to your specific requirements and ideas. Our art team consists of hundreds of experienced and well-trained painters with professional background, so we can fast respond to the customer's large quantity demand on high quality products.
Our Products & Services: 100% Hand-made original oil painting, 100% Hand made oil painting reproduction, Oil painting from photo, Watercolor Painting, oil painting Printed on canvas, watercolor painting, Oil painting from photo, Painting for personal use,wooden frame,metal frame,poster frame,picture frame,wooden picture frame,picture wooden frames.
Business Type: Manufacturer, Supplier and Art gallery
Year Started: 1998
Number of Artist: 100Focus
Markets: North America; South America; Western Europe; Eastern Asia; Southeast Asia; Middle Asia; Australia
Website: http://www.refinegallery.com
Fine Portrait Painting on Canvas
Fine Oil Portrait Painting on Canvas Wholesale from China
Refine Art Gallery have many Portrait Artist,Portrait Painter to paint fine portrait paintings on canvas, all portrait paintings are hand painted. We have finished many fine portrait paintings and have nice Evaluation from worldwide art lovers. As a professional art gallery, we have an excllent art team to Guarantee the paintings quality.
Refine Art Gallery have many Portrait Artist,Portrait Painter to paint fine portrait paintings on canvas, all portrait paintings are hand painted. We have finished many fine portrait paintings and have nice Evaluation from worldwide art lovers. As a professional art gallery, we have an excllent art team to Guarantee the paintings quality.
watercolor painting from chinese arg gallery
Refine Art Gallery is a professional Art Gallery. We can not only paint fine oil paintings such as landscapes oil paintings ,hunter paintings oil paintings ,seascapes oil paintings ,flowers oil paintings ,animals oil paintings ,peoples oil paintings,decorative oil paintings,snowscape oil paintings ,christmas oil paintings,oil painting copies of famous artist, but also animal watercolors,
landscape watercolors,portrait watercolors,still life watercolors,seascape watercolors, fruit watercolors etc. We exporte a large volumn watercolors from china to worldwide every year.
landscape watercolors,portrait watercolors,still life watercolors,seascape watercolors, fruit watercolors etc. We exporte a large volumn watercolors from china to worldwide every year.
Dec 14, 2007
Decoration Oil Paintings
keyword: Decoration Oil Paintings,abstract oil painting,oil painting reproduction,Decorative paintings 当家居环境越来越讲究个性氛围时，形形色色的装饰画便成了一道道亮丽的风景线。然而，有专家提醒，选择装饰画Decorative Paintings时，除了符合主人的审美品味外，也不要忽略它的环保性能。
据报道，前不久，南京市某室内环境监测研究中心在对一套200多平方米的公寓进行检测时发现，除书房甲醛超标3倍以外，各房间均达标。
主人很疑惑，每个房间使用的是同品牌家具、地板、乳胶漆，又用同样的方法做的污染治理，为何单单只有一个房间甲醛超标？当工作人员把墙上那幅0.8×1.5米大的油画取下来时，才找到根源：油画的画托使用的是中密度纤维板，且未经过任何贴面处理，也没有油漆过。
专家介绍，中密度纤维板、胶合板、细木工板和刨花板等人造板材对于室内空气的污染相当大。一般情况下，中密度纤维板都不能达到国家规定的E1级环保标准，在室内装修时通常会使用贴面覆盖，以防止甲醛挥发；而作为画托时，商家和消费者却都忽略了这个问题，导致整个房间的空气环境被污染。
家装饰品业内人士叶小姐告诉记者，目前市场上的装饰画Decoration Oil Paintings主要有三大类：一类是最常见的印刷品；一类是原木艺术画、手工贴画、标本画等实物装裱画；一类是水彩画、国画、油画等手绘作品。而装饰画对于家居环境的有害影响可能来自以下三方面：首先是画框材质不够安全，目前几乎所有的装饰画的画托都采用中密度纤维板，档次较低的甚至使用污染更为严重的低密度板，出现甲醛、苯超标3—4倍的情况不足为奇；其次是颜料的安全性，油画、水粉画、丙烯画的颜料中含有一定量的可溶锑、砷、钡、铅、汞、硒等元素，这些重金属元素如果被人体过量摄入，会严重危害健康。而且深色颜料中的金属含量往往较高，相对来说，印刷作品、水彩画、国画在这方面较为安全，购买时，应尽量选择这一类产品；第三是一些黏合材料中可能含有超标的甲醛、苯等，在选购实物装裱画时要特别留意。
消费者在挑选装饰画Decorative Oil Painting时，可以遵循以下几个简单的健康准则：用漆少，用胶少，重色染料较少。对于心仪的装饰画，购买时可留意是否散发强烈的刺鼻气味。买回家后，不要急于拿进屋挂上墙，可在通风好的地方存放一段时间再挂。
据报道，前不久，南京市某室内环境监测研究中心在对一套200多平方米的公寓进行检测时发现，除书房甲醛超标3倍以外，各房间均达标。
主人很疑惑，每个房间使用的是同品牌家具、地板、乳胶漆，又用同样的方法做的污染治理，为何单单只有一个房间甲醛超标？当工作人员把墙上那幅0.8×1.5米大的油画取下来时，才找到根源：油画的画托使用的是中密度纤维板，且未经过任何贴面处理，也没有油漆过。
专家介绍，中密度纤维板、胶合板、细木工板和刨花板等人造板材对于室内空气的污染相当大。一般情况下，中密度纤维板都不能达到国家规定的E1级环保标准，在室内装修时通常会使用贴面覆盖，以防止甲醛挥发；而作为画托时，商家和消费者却都忽略了这个问题，导致整个房间的空气环境被污染。
家装饰品业内人士叶小姐告诉记者，目前市场上的装饰画Decoration Oil Paintings主要有三大类：一类是最常见的印刷品；一类是原木艺术画、手工贴画、标本画等实物装裱画；一类是水彩画、国画、油画等手绘作品。而装饰画对于家居环境的有害影响可能来自以下三方面：首先是画框材质不够安全，目前几乎所有的装饰画的画托都采用中密度纤维板，档次较低的甚至使用污染更为严重的低密度板，出现甲醛、苯超标3—4倍的情况不足为奇；其次是颜料的安全性，油画、水粉画、丙烯画的颜料中含有一定量的可溶锑、砷、钡、铅、汞、硒等元素，这些重金属元素如果被人体过量摄入，会严重危害健康。而且深色颜料中的金属含量往往较高，相对来说，印刷作品、水彩画、国画在这方面较为安全，购买时，应尽量选择这一类产品；第三是一些黏合材料中可能含有超标的甲醛、苯等，在选购实物装裱画时要特别留意。
消费者在挑选装饰画Decorative Oil Painting时，可以遵循以下几个简单的健康准则：用漆少，用胶少，重色染料较少。对于心仪的装饰画，购买时可留意是否散发强烈的刺鼻气味。买回家后，不要急于拿进屋挂上墙，可在通风好的地方存放一段时间再挂。
What is a Giclee?
Keyword: giclee,giclee print,giclee printing,oil painting on canvas,chinese giclee
A giclee (zhee-CLAY), is an individually produced, high-resolution, high-fidelity, high tech reproduction done on a special large format printer. Giclees are produced from digital scans of existing artwork. Also, since many artists now paint only digitally, there was no "original" that can be hung on a wall. Giclees solve that problem, while creating a whole new vibrant medium for art.
Giclees can be printed on any number of media, from canvas to watercolor paper to vinyl, to transparent acetates. Giclees are superior to traditional lithography in nearly every way. The colors are brighter, last longer, and are so high-resolution that they are virtually 'continuous tone', rather than tiny dots. The range, or "gamut" of color for giclees is far beyond that of lithography, and details are crisper.
Since giclee printers can use media in rolls, large print sizes are available, limited only by the length and width of the roll. Billboard sizes are possible. Giclees are typically sold by the square inch or square foot.
Lithography uses tiny dots of four colors--cyan, magenta, yellow and black--to fool the eye into seeing various hues and shades. Colors are "created" by printing different size dots of these four colors.
Giclees use inkjet technology, but far more sophisticated than your desktop printer. The process employs six colors--light cyan, cyan, light magenta, magenta, yellow and black (somteimes TWO blacks)--of lightfast (fade resistant,) pigmented inks and finer, more numerous, replaceable printheads resulting in a wider color gamut, and the ability to use various media to print on. The ink is sprayed onto the page, actually mixing the color on the page to create truer shades and hues.
They are priced midway between original art and regular limited edition lithographs. Limited edition litho prints are usually produced in editions of 500-1000 or more, all at once; but giclees rarely exceed 50-100 high-quality reproductions, one at a time.
Giclees were originally developed as a proofing system for traditional lithographic printing presses, but it soon became apparent that the presses were having a hard time delivering the quality and brilliant color of the giclee proofs. Giclees evolved into the new darlings of the art world. They are coveted by collectors for their fidelity and quality, and desired by galleries and artists alike because they don't have to be produced in huge quantities with their large layout of capital and storage.
In addition, Giclees are produced directly from a digital file, (which can be remotely uploaded,) saving generations of detail-robbing negatives and printing plates used with traditional litho printing. NOVASPACE has our own giclee printer and operator, allowing for more flexibility, experimentation, quick turnaround and lower costs (no middleman) to our customers.
A giclee (zhee-CLAY), is an individually produced, high-resolution, high-fidelity, high tech reproduction done on a special large format printer. Giclees are produced from digital scans of existing artwork. Also, since many artists now paint only digitally, there was no "original" that can be hung on a wall. Giclees solve that problem, while creating a whole new vibrant medium for art.
Giclees can be printed on any number of media, from canvas to watercolor paper to vinyl, to transparent acetates. Giclees are superior to traditional lithography in nearly every way. The colors are brighter, last longer, and are so high-resolution that they are virtually 'continuous tone', rather than tiny dots. The range, or "gamut" of color for giclees is far beyond that of lithography, and details are crisper.
Since giclee printers can use media in rolls, large print sizes are available, limited only by the length and width of the roll. Billboard sizes are possible. Giclees are typically sold by the square inch or square foot.
Lithography uses tiny dots of four colors--cyan, magenta, yellow and black--to fool the eye into seeing various hues and shades. Colors are "created" by printing different size dots of these four colors.
Giclees use inkjet technology, but far more sophisticated than your desktop printer. The process employs six colors--light cyan, cyan, light magenta, magenta, yellow and black (somteimes TWO blacks)--of lightfast (fade resistant,) pigmented inks and finer, more numerous, replaceable printheads resulting in a wider color gamut, and the ability to use various media to print on. The ink is sprayed onto the page, actually mixing the color on the page to create truer shades and hues.
They are priced midway between original art and regular limited edition lithographs. Limited edition litho prints are usually produced in editions of 500-1000 or more, all at once; but giclees rarely exceed 50-100 high-quality reproductions, one at a time.
Giclees were originally developed as a proofing system for traditional lithographic printing presses, but it soon became apparent that the presses were having a hard time delivering the quality and brilliant color of the giclee proofs. Giclees evolved into the new darlings of the art world. They are coveted by collectors for their fidelity and quality, and desired by galleries and artists alike because they don't have to be produced in huge quantities with their large layout of capital and storage.
In addition, Giclees are produced directly from a digital file, (which can be remotely uploaded,) saving generations of detail-robbing negatives and printing plates used with traditional litho printing. NOVASPACE has our own giclee printer and operator, allowing for more flexibility, experimentation, quick turnaround and lower costs (no middleman) to our customers.
Dec 12, 2007
Oil Painting Reproductions
All Fine Oil Painting Reproductions in Refine Art Gallery
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Dec 6, 2007
Fernando Botero
The introduction about Fernando Botero
Fernando Botero, Colombian painter. In 1948, he started work as an illustrator. In 1950, he went to Europe, where he attended the Academy of San Fernando in Madrid, copied Velázquez and Goya in the Prado and admired the frescoes in Florence. He went on a long visit to Mexico in 1956-57 and the experience of Muralism significantly influenced his future direction. In his own work, he introduced inflated forms, puffing up to an exaggerated size human figures, natural features, and objects of all kinds, celebrating the life within them while mocking their role in the world. He combined the regional with the universal, constantly referring to his native Colombia and also creating elaborate parodies of works of art from the past - whether Dürer, Bonnard, Velázquez or David. Not without humour, the symbols of power and authority everywhere - presidents, soldiers and churchmen - are targeted in his attacks on a society still infantile in its behaviour.
Fernando Botero, Colombian painter. In 1948, he started work as an illustrator. In 1950, he went to Europe, where he attended the Academy of San Fernando in Madrid, copied Velázquez and Goya in the Prado and admired the frescoes in Florence. He went on a long visit to Mexico in 1956-57 and the experience of Muralism significantly influenced his future direction. In his own work, he introduced inflated forms, puffing up to an exaggerated size human figures, natural features, and objects of all kinds, celebrating the life within them while mocking their role in the world. He combined the regional with the universal, constantly referring to his native Colombia and also creating elaborate parodies of works of art from the past - whether Dürer, Bonnard, Velázquez or David. Not without humour, the symbols of power and authority everywhere - presidents, soldiers and churchmen - are targeted in his attacks on a society still infantile in its behaviour.
Fernando Botero
"Fernando Botero, Colombian painter. In 1948, he started work as an illustrator. In 1950, he went to Europe, where he attended the Academy of San Fernando in Madrid, copied Velázquez and Goya in the Prado and admired the frescoes in Florence. He went on a long visit to Mexico in 1956-57 and the experience of Muralism significantly influenced his future direction. In his own work, he introduced inflated forms, puffing up to an exaggerated size human figures, natural features, and objects of all kinds, celebrating the life within them while mocking their role in the world. He combined the regional with the universal, constantly referring to his native Colombia and also creating elaborate parodies of works of art from the past - whether Dürer, Bonnard, Velázquez or David. Not without humour, the symbols of power and authority everywhere - presidents, soldiers and churchmen - are targeted in his attacks on a society still infantile in its behaviour."
Sisley Alfred
The story of Sisley Alfred
Sisley Alfred (b. Oct. 30, 1839, Paris, Fr.--d. Jan. 29, 1899, Moret-sur-Loing), painter who was one of the creators of French Impressionism.
Sisley was born in Paris of English parents. After his schooldays, his father, a merchant trading with the southern states of America, sent him to London for a business career, but finding this unpalatable, Sisley returned to Paris in 1862 with the aim of becoming an artist. His family gave him every support, sending him to Gleyre's studio, where he met Renoir, Monet and Bazille. He spent some time painting in Fontainebleau, at Chailly with Monet, Bazille and Renoir, and later at Marlotte with Renoir. His style at this time was deeply influenced by Courbet and Daubigny, and when he first exhibited at the Salon in 1867 it was as the pupuil of Corot.
By this time, however, he had started to frequent the Café Guerbois, and was becoming more deeply influenced by the notions which were creating Impressionism. During the Franco-Prussian war and the period of the Commune, he spent some time in London and was introduced to Durand-Ruel by Pissarro, becoming part of that dealer's stable. In the mean time, his father had lost all his money as a result of the war, and Sisley, with a family to support, was reduced to a state of penury, in which he was to stay until virtually the end of his life.
He now saw himself as a full-time professional painter and part of the Impressionist group, exhibiting with them in 1874, 1876, 1877 and 1882. His work had by this time achieved complete independance from the early influences that had affected him. In the 1870s he produced a remarkable series of landscapes of Argenteuil, where he was living, one of which, The Bridge at Argenteuil (1872; Brooks Memorial Gallery, Memphis, USA) was bought by Manet. Towards the end of the decade Monet was beginning to have a considerable influence on him, and a series of landscape paintings of the area around Paris, including Marly, Bougival and Louveciennes (1876; Floods at Port-Marly, Musée d'Orsay), shows the way in which his dominent and evident lyricism still respects the demands of the subject-matter. From his early admiration for Corot he retained a passionate interest in the sky, which nearly always dominates his paintings, and also in the effects of snow, the two interests often combining to create a strangely dramatic effect (1880; Snow at Véneux; Musée d'Orsay). Naturally different, he did not promote himself in the way that some of his fellow Impressionists did, and it was only towards the end of his life, when he was dying of cancer of the throat, that he received something approaching the recognition he deserved.
Sisley Alfred (b. Oct. 30, 1839, Paris, Fr.--d. Jan. 29, 1899, Moret-sur-Loing), painter who was one of the creators of French Impressionism.
Sisley was born in Paris of English parents. After his schooldays, his father, a merchant trading with the southern states of America, sent him to London for a business career, but finding this unpalatable, Sisley returned to Paris in 1862 with the aim of becoming an artist. His family gave him every support, sending him to Gleyre's studio, where he met Renoir, Monet and Bazille. He spent some time painting in Fontainebleau, at Chailly with Monet, Bazille and Renoir, and later at Marlotte with Renoir. His style at this time was deeply influenced by Courbet and Daubigny, and when he first exhibited at the Salon in 1867 it was as the pupuil of Corot.
By this time, however, he had started to frequent the Café Guerbois, and was becoming more deeply influenced by the notions which were creating Impressionism. During the Franco-Prussian war and the period of the Commune, he spent some time in London and was introduced to Durand-Ruel by Pissarro, becoming part of that dealer's stable. In the mean time, his father had lost all his money as a result of the war, and Sisley, with a family to support, was reduced to a state of penury, in which he was to stay until virtually the end of his life.
He now saw himself as a full-time professional painter and part of the Impressionist group, exhibiting with them in 1874, 1876, 1877 and 1882. His work had by this time achieved complete independance from the early influences that had affected him. In the 1870s he produced a remarkable series of landscapes of Argenteuil, where he was living, one of which, The Bridge at Argenteuil (1872; Brooks Memorial Gallery, Memphis, USA) was bought by Manet. Towards the end of the decade Monet was beginning to have a considerable influence on him, and a series of landscape paintings of the area around Paris, including Marly, Bougival and Louveciennes (1876; Floods at Port-Marly, Musée d'Orsay), shows the way in which his dominent and evident lyricism still respects the demands of the subject-matter. From his early admiration for Corot he retained a passionate interest in the sky, which nearly always dominates his paintings, and also in the effects of snow, the two interests often combining to create a strangely dramatic effect (1880; Snow at Véneux; Musée d'Orsay). Naturally different, he did not promote himself in the way that some of his fellow Impressionists did, and it was only towards the end of his life, when he was dying of cancer of the throat, that he received something approaching the recognition he deserved.
Nov 26, 2007
Exhibitors for The Art Show
NEW YORK.- The Art Show, America''s most prestigious art fair, has announced an outstanding list of exhibitors for 2007, comprising top galleries from across the country. Seventy of the nation''s leading art dealers will participate in The Art Show from February 22 - 26, 2007, at the Seventh Regiment Armory, Park Avenue at 67th Street, New York City. Organized by the Art Dealers Association of America (ADAA) for the 19th year, the show will feature museum-quality works including paintings, sculpture, drawings, prints, photographs and ceramics from the 19th century to the 21st century. The Art Show and its Gala Preview on February 21, 2007, will benefit Henry Street Settlement, one of New York City''s best-known and most effective social services and arts agencies.
"For 2007, we have assembled an extraordinary group of the most important and influential art dealers working in the U.S. today. From key emerging and established artists to the greats of the last century, we have once again struck the right balance of contemporary and Modern work," said Roland Augustine, the new President of the ADAA and partner in Luhring Augustine. "Collectors consistently look forward to The Art Show as they enjoy its intimate scale, allowing them to visit exhibiting galleries multiple times."
The Art Show 2007 will offer the largest number to date of new galleries to show at the fair, including Sonnabend, Andrea Rosen Gallery, D''Amelio Terras, and Peter Freeman, Inc. all of New York; Rhona Hoffman Gallery and Donald Young Gallery of Chicago.
Linda Blumberg, the new Executive Director of ADAA, added, "The remarkable roster of Art Show exhibitors clearly displays the extraordinary collective knowledge and connoisseurship of ADAA members."
The month of February 2007 offers a landmark event in New York City''s art world as The Art Show will be concurrent with The Armory Show held at the Piers. To provide a continuous flow of information and opportunities for collectors, both fairs are collaborating for the first time on ways to best serve the collecting and art loving communities which attend.
"I''m a great believer in synergistic relationships. We view this as a complementary initiative for both organizations'' long term goals," noted Augustine. Exhibitors: Top New York City galleries exhibiting in The Art Show 2007 include Cheim & Read, Richard L.
Feigen & Co., Galerie St. Etienne, Marian Goodman Gallery, Paul Kasmin Gallery, Knoedler & Company, Galerie Lelong, L&M Arts, Luhring Augustine, Matthew Marks Gallery, Mitchell-Innes & Nash, PaceWildenstein, Pace Prints, Sikkema Jenkins & Co., Sperone Westwater, David Tunick, Inc., and, David Zwirner Gallery. Also participating from across the country are: Richard Gray Gallery, Chicago; John Berggruen Gallery, Fraenkel Gallery and Anthony Meier Fine Arts, San Francisco; Manny Silverman Gallery, Los Angeles; Greenberg Van Doren Gallery, St. Louis; and, Barbara Krakow Gallery, Boston. A complete list of exhibitors is attached. Information is also available at www.artdealers.org/artshow.
Church, Winslow Homer and Thomas Moran
Winslow Homer (American, 1836-1910), Girl Picking Apple Blossoms, 1879, Brush and oil paint on canvas, Cooper-Hewitt, National Design Museum, Smithsonian Institution, Gift of Mrs. Charles Savage Homer, Jr. 1918-20-7.
TAMPA, FL.-The Tampa Museum of Art presents Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape, on view through April 1, 2007. The Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape exhibition is organized by the Smithsonian¡¯s Cooper-Hewitt, National Design Museum¡¯s collections, and will explore the promotion of tourism in 19th-century America. The exhibition will demonstrate the roles of these 19th-century landscape works in the broader context of design, particularly the decorative arts and graphic design, and will offer a new perspective on the study of these American artists. Seventy landscape paintings, oil sketches and drawings will be featured in the exhibition, with 46 examples of decorative arts and ephemera¡ªsuch as books, brochures, broadsides, and stereoviews¡ªto illustrate the connections between the disciplines of social, cultural and economic history with those of art and design history. Oil paintings, sketches and drawings by Church (American, 1826-1900) and Homer (American, 1836-1910), and watercolors by Moran (American, 1837-1926) capture romanticized views of Niagara Falls, Maine, the Catskills, Yellowstone, Yosemite, and other scenic locations. The artists¡¯ works, which were seen through exhibitions, reproductions, popular journals, illustrated publications and guidebooks stimulated national interest in these regions and contributed to a burgeoning tourist industry. By the second half of the 19th century, as incomes grew and working people enjoyed more leisure hours, scenic touring became accessible to middle-class as well as wealthy Americans, increasing the market for prints, photographs and other tourist souvenirs.
The Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape exhibition will feature three separate geographical areas of America¡¯s landscape¡ªNew York, including the Adirondacks, the Catskills, and Niagara Falls; New England, including Bar Harbor and Prout¡¯s Neck, Maine, as well as the White Mountains of New Hampshire; and the West, including Yellowstone and Yosemite. The exhibition will explore such themes as: the pastoral ideal, particularly Homer¡¯s glorification of rural life through depictions of bucolic fantasy; the role of Moran and other artists in the promotion of Western tourism through the creation of iconic images of natural wonders such as the Grand Canyon and Yellowstone; and the contradictory nature of scenic tourism, where overdevelopment of rural mountain and seashore retreats challenged the pristine landscape that Americans seemed to prize.
Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape is organized by Cooper-Hewitt, National Design Museum, Smithsonian Institution. The exhibition was made possible in part by the generosity of Enid and Lester Morse. Support was provided by public funds from the New York State Council on the Arts, a State agency, Stephen McKay, Inc., Furthermore: a program of the J.M. Kaplan Fund, and Movado. Additional support was provided by W. Leslie Duffy, Margery and Edgar Masinter, Susan and Jon Rotenstreich, Mr. and Mrs. Frederic A. Sharf, Mr. and Mrs. Richard J. Schwartz, and Larry and Janet Larose. Local support for the exhibition is provided by Sabal Trust Company of St. Petersburg, FL, and the Arts Council of Hillsborough County and the Board of County Commissioners. The members¡¯ opening reception is scheduled for Friday, January 5 from 6 ¨C 9 p.m.; Patron members from 6 ¨C 7 p.m.; all other members from 7 ¨C 9 p.m. An accompanying exhibition catalog will be available in the Tampa Museum of Art¡¯s Guilders Museum Store for $50.
TAMPA, FL.-The Tampa Museum of Art presents Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape, on view through April 1, 2007. The Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape exhibition is organized by the Smithsonian¡¯s Cooper-Hewitt, National Design Museum¡¯s collections, and will explore the promotion of tourism in 19th-century America. The exhibition will demonstrate the roles of these 19th-century landscape works in the broader context of design, particularly the decorative arts and graphic design, and will offer a new perspective on the study of these American artists. Seventy landscape paintings, oil sketches and drawings will be featured in the exhibition, with 46 examples of decorative arts and ephemera¡ªsuch as books, brochures, broadsides, and stereoviews¡ªto illustrate the connections between the disciplines of social, cultural and economic history with those of art and design history. Oil paintings, sketches and drawings by Church (American, 1826-1900) and Homer (American, 1836-1910), and watercolors by Moran (American, 1837-1926) capture romanticized views of Niagara Falls, Maine, the Catskills, Yellowstone, Yosemite, and other scenic locations. The artists¡¯ works, which were seen through exhibitions, reproductions, popular journals, illustrated publications and guidebooks stimulated national interest in these regions and contributed to a burgeoning tourist industry. By the second half of the 19th century, as incomes grew and working people enjoyed more leisure hours, scenic touring became accessible to middle-class as well as wealthy Americans, increasing the market for prints, photographs and other tourist souvenirs.
The Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape exhibition will feature three separate geographical areas of America¡¯s landscape¡ªNew York, including the Adirondacks, the Catskills, and Niagara Falls; New England, including Bar Harbor and Prout¡¯s Neck, Maine, as well as the White Mountains of New Hampshire; and the West, including Yellowstone and Yosemite. The exhibition will explore such themes as: the pastoral ideal, particularly Homer¡¯s glorification of rural life through depictions of bucolic fantasy; the role of Moran and other artists in the promotion of Western tourism through the creation of iconic images of natural wonders such as the Grand Canyon and Yellowstone; and the contradictory nature of scenic tourism, where overdevelopment of rural mountain and seashore retreats challenged the pristine landscape that Americans seemed to prize.
Frederic Church, Winslow Homer and Thomas Moran: Tourism and the American Landscape is organized by Cooper-Hewitt, National Design Museum, Smithsonian Institution. The exhibition was made possible in part by the generosity of Enid and Lester Morse. Support was provided by public funds from the New York State Council on the Arts, a State agency, Stephen McKay, Inc., Furthermore: a program of the J.M. Kaplan Fund, and Movado. Additional support was provided by W. Leslie Duffy, Margery and Edgar Masinter, Susan and Jon Rotenstreich, Mr. and Mrs. Frederic A. Sharf, Mr. and Mrs. Richard J. Schwartz, and Larry and Janet Larose. Local support for the exhibition is provided by Sabal Trust Company of St. Petersburg, FL, and the Arts Council of Hillsborough County and the Board of County Commissioners. The members¡¯ opening reception is scheduled for Friday, January 5 from 6 ¨C 9 p.m.; Patron members from 6 ¨C 7 p.m.; all other members from 7 ¨C 9 p.m. An accompanying exhibition catalog will be available in the Tampa Museum of Art¡¯s Guilders Museum Store for $50.
Nov 24, 2007
最新流行的艺术微喷(Giclee)的历史
简介：详细介绍了艺术微喷(giclee print)的发展和来龙去脉。
在20世纪80年代末, Iris 3047连续喷墨式的滚筒打印机主要应用於印前数码打样。那时一台Iris 3047打印机的价格是12万6千美元, 而其使用的染料墨水也很易褪色。但其精细的连续调输出能力引起了数码高端输出的先行者如Graham Nash (Nash Editions 创办人 -- www.nasheditions.com)的注意，最终成就了艺术品复制和收藏级照片打印这个巨大的市场。
Graham Nash 购买了一台Iris 3047并立即对它进行了改良和使用一种较为耐光的墨水, 开始输出高品质的照片。在1991年, 美国一位艺术品复制制作师Jack Duganne使用了 ”Giclee” 这个法文(喷的意思) 来形容这种制作收藏级的艺术品复制的工艺, 这个全新的名字也可以出与一般家用/商用喷墨打印产生差别。从此Giclee在全球艺术界和摄影界被广泛接受。
因为早期的Giclee使用的墨水质量不佳, 所以有些艺术品复制公司开始在Giclee前面加上一些字以推广他们的质量较高和保存时间较长如 TruGiclee 和 HeritageGiclee。当然他们必需使用指定的墨水和介质以达到长久保存的效果。
爱普生(美国)公司在2004年也开始推广UltraGiclee 艺术品复制工艺 - 必须使用爱普生颜料墨水打印机, 爱普生颜料墨水(“世纪虹彩K3”颜料墨水, “世纪虹彩”颜料墨水, “世纪虹彩亮光”颜料墨水 或 “世纪色彩”颜料墨水) 和 三种指定的无酸纯棉介质(爱普生超平滑美术纸, 爱普生织纹美术纸, 爱普生防水油画布)。 经过培训的艺术品复制输出中心或博物馆更可对作品颁发UltraGiclee证书, 由爱普生(美国)公司保证80年不褪色, 否则每平方平赔偿100美元。 UltraGiclee是全球首个对艺术品复制提供赔偿的项目。美国纽约大都会艺术博物馆和波士顿艺术博物馆也开始销售UltraGiclee工艺输出的艺术复制品。
因为中国市埸对以上国外的收藏级输出的认识不深, 仍停留在低端的“喷绘”和“写真” 的概念。 爱普生(中国)有限公司希望在中国推广和普及Giclee, 所以将Giclee翻译成“艺术微喷”, 希望中国的艺术家和摄影家对此有更深入的理解。
艺术微喷作品的定价一般是在原作和使用传统印刷工艺印刷的限量作品之间。传统印刷工艺印刷的限量数量一般是500至1000件, 而艺术微喷工艺的限量数量一般是50至100件。艺术微喷工艺的优点的按需制作, 在接到订单后才制作, 无需厍存成本。
纽约菲利普拍卖公司在2004年4月23日拍卖著名摄影家的艺术微喷照片, Annie Leibovitz的艺术微喷照片共拍卖出10,800美元, Chuck Close的艺术微喷照片9,600美元, Wolfgang Tillmans的艺术微喷照片 22,800美元。
除美国纽约大都会艺术博物馆和波士顿艺术博物馆开始销售艺术微喷工艺输出的艺术复制品外, 北京故宫博物馆, 中国国家图书馆, 台北故宫博物馆, 宾夕法尼亚艺术博物馆, 纽约古根汉博物馆, 洛杉矶当代艺术博物馆, 华盛顿可可画廊, 法国巴黎卢浮宫美术馆, 英国伦敦大英博物馆等世界知名博物馆和画廊也有销售艺术微喷作品。
根据美国市埸调查研究顾问公司I.T. Strategies的预测, 2005年全球艺术微喷作品的市埸销售金额高达7亿5千万美元。
在20世纪80年代末, Iris 3047连续喷墨式的滚筒打印机主要应用於印前数码打样。那时一台Iris 3047打印机的价格是12万6千美元, 而其使用的染料墨水也很易褪色。但其精细的连续调输出能力引起了数码高端输出的先行者如Graham Nash (Nash Editions 创办人 -- www.nasheditions.com)的注意，最终成就了艺术品复制和收藏级照片打印这个巨大的市场。
Graham Nash 购买了一台Iris 3047并立即对它进行了改良和使用一种较为耐光的墨水, 开始输出高品质的照片。在1991年, 美国一位艺术品复制制作师Jack Duganne使用了 ”Giclee” 这个法文(喷的意思) 来形容这种制作收藏级的艺术品复制的工艺, 这个全新的名字也可以出与一般家用/商用喷墨打印产生差别。从此Giclee在全球艺术界和摄影界被广泛接受。
因为早期的Giclee使用的墨水质量不佳, 所以有些艺术品复制公司开始在Giclee前面加上一些字以推广他们的质量较高和保存时间较长如 TruGiclee 和 HeritageGiclee。当然他们必需使用指定的墨水和介质以达到长久保存的效果。
爱普生(美国)公司在2004年也开始推广UltraGiclee 艺术品复制工艺 - 必须使用爱普生颜料墨水打印机, 爱普生颜料墨水(“世纪虹彩K3”颜料墨水, “世纪虹彩”颜料墨水, “世纪虹彩亮光”颜料墨水 或 “世纪色彩”颜料墨水) 和 三种指定的无酸纯棉介质(爱普生超平滑美术纸, 爱普生织纹美术纸, 爱普生防水油画布)。 经过培训的艺术品复制输出中心或博物馆更可对作品颁发UltraGiclee证书, 由爱普生(美国)公司保证80年不褪色, 否则每平方平赔偿100美元。 UltraGiclee是全球首个对艺术品复制提供赔偿的项目。美国纽约大都会艺术博物馆和波士顿艺术博物馆也开始销售UltraGiclee工艺输出的艺术复制品。
因为中国市埸对以上国外的收藏级输出的认识不深, 仍停留在低端的“喷绘”和“写真” 的概念。 爱普生(中国)有限公司希望在中国推广和普及Giclee, 所以将Giclee翻译成“艺术微喷”, 希望中国的艺术家和摄影家对此有更深入的理解。
艺术微喷作品的定价一般是在原作和使用传统印刷工艺印刷的限量作品之间。传统印刷工艺印刷的限量数量一般是500至1000件, 而艺术微喷工艺的限量数量一般是50至100件。艺术微喷工艺的优点的按需制作, 在接到订单后才制作, 无需厍存成本。
纽约菲利普拍卖公司在2004年4月23日拍卖著名摄影家的艺术微喷照片, Annie Leibovitz的艺术微喷照片共拍卖出10,800美元, Chuck Close的艺术微喷照片9,600美元, Wolfgang Tillmans的艺术微喷照片 22,800美元。
除美国纽约大都会艺术博物馆和波士顿艺术博物馆开始销售艺术微喷工艺输出的艺术复制品外, 北京故宫博物馆, 中国国家图书馆, 台北故宫博物馆, 宾夕法尼亚艺术博物馆, 纽约古根汉博物馆, 洛杉矶当代艺术博物馆, 华盛顿可可画廊, 法国巴黎卢浮宫美术馆, 英国伦敦大英博物馆等世界知名博物馆和画廊也有销售艺术微喷作品。
根据美国市埸调查研究顾问公司I.T. Strategies的预测, 2005年全球艺术微喷作品的市埸销售金额高达7亿5千万美元。
Nov 22, 2007
Refine Oil Painting Art Gallery supply bulk of fine art reproductions according upon your request. For your convenience, our website provides you with a large volume of oil painting database, which collect numerous artworks produced by artists from the 15th century to the 20th century. These fine art are categorized by artist name. In case you cannot find an artist listed in our database, please send us the pictures of the artist works. We may reproduce them for you according to the pictures.
装饰油画的选择
Key Word: oil painting, reproduction oil painting, chinese oil painting, watercolor, print oil painting
近年，油画（oil painting）渐渐进入寻常百姓家。人们在装饰居所墙面时，常常会选用一些水彩画(watercolor painting)，中国画和油画。尤其是油画，更受人们青睐。 在我国，绘画市场大体分为三类：中国画，西洋画与民间绘画。中国画讲求气韵，意趣，笔墨，西洋画则不然。西洋画包括油画，木版，铜版，素描，水彩，水粉等画种。其中油画是表现力，实用性与装饰性最强的画种。 西洋油画被引进我国仅有三百多年，而广泛进入到人们的社会生活中，不过是上个世纪初叶的事。改革开放后，各种风格，流派的油画创作都有了一席之地。 油画创作就其题材划分，可分为主题画，风俗画，风景画，人物肖像画与静物画等。但不论何种题材，作品主要是依靠造型与色彩两大要素。也就是说，油画使用的是形，光，色这三大表现手段。 形，也就是形体。这就要求画家首先要具有造型能力，要有深厚的素描功底。没有很好的素描基础，要想画好油画，如同没有地基的高楼，是立不起来的。 光，也就是光效的表现。法国印象派兴起之后，引发了人们对光的研究与表现。画家对光的理解趋于了科学与理性。因而对光影的表现也就更加逼真生动。光与光影是烘托气氛的重要元素。这个道理只要看看戏剧舞台的灯光效果就不难理解了。 油画最重要的元素是色彩。色彩不同于调色板上的颜色。画家从来不会把调色板上的颜色，也就是工厂制造出来的颜料，原封不动地搬上画布的。这些颜色必须经画家精心地加以艺术化的调制，以求得色彩的柔和，逼真，色块与色块之间搭配的和谐统一。这就是人们通常所说的调子或色调。一幅油画的颜色不能是五颜六色的胡乱拼凑，也不能是纷繁庞杂，令人眼花缭乱的，而应该形成能体现出某种色彩倾向的，并且变化无端，微妙细腻的画面效果。 色调是油画的灵魂。没有调子，也就是说一幅油画如果没有形成一种基调，没有和谐统一且又富于变化的色块组合，那末，这幅油画可以说没有达到及格线。 除以上要求外，油画还讲究构图，笔触，节奏等等，这里就不细说了。 现代油画创作大致上分为两大类：抽象绘画和具象绘画。 所谓抽象油画，就是在画面的表现上抽掉了摹写自然物的形，代之以一种意念，意象的表现。这种绘画没有具体的自然界的形象，只有色块，线条，点面等等。读画者仅仅从这些色块的组合中引发联想与想象。如赵无极大师的作品就属于这一种。抽象绘画的艺术理论形形色色，但可用一句我国古人的话来概括，即" 大象无形 "。 通常，人们有一个误区，以为印象派，野兽派，未来派都叫抽象画。其实，这些艺术流派，不过是突破写实主义，古典主义的框架，并没有把形象抽取掉，至多只是把现实的形象加以现代化的表现，加以变形与夸张罢了。 当前，我国也出现了不少自诩为抽象派的画家，有些画家形成了一定风格，作品也有相当深度，但有些人可能缺乏素描基础，又没受过现实主义绘画的严格训练，误以为随便涂涂抹抹就是抽象画了。这样的作品含义不深，意趣不浓，既无装饰趣味，又没有刻意匠心，仅仅流于了形式。其实，它大大歪曲了抽象绘画的主旨。 在具象绘画中，除了全然写实的之外，有浓郁装饰趣味的，有变形的，或者介于抽象与具象之间的多种形式。 总之，如今是一个多元的时代，油画创作不论就内容或就表现形式来说，也是多种多样的。我们不能厚此薄彼，要让各种流派的作品在油画的百花园中，大放异彩。 以上谈的主要是指原创的油画作品。那种电脑绘画，临摹品，限量印刷的的印刷品或者那种粗制滥造，采用工厂方式"生产"出来的"行画(oil painting reproduction)"，就不在讨论的范畴了。 其实专业画师临摹的油画名片还是比较好的，印刷品是不能和其相提并论的。
近年，油画（oil painting）渐渐进入寻常百姓家。人们在装饰居所墙面时，常常会选用一些水彩画(watercolor painting)，中国画和油画。尤其是油画，更受人们青睐。 在我国，绘画市场大体分为三类：中国画，西洋画与民间绘画。中国画讲求气韵，意趣，笔墨，西洋画则不然。西洋画包括油画，木版，铜版，素描，水彩，水粉等画种。其中油画是表现力，实用性与装饰性最强的画种。 西洋油画被引进我国仅有三百多年，而广泛进入到人们的社会生活中，不过是上个世纪初叶的事。改革开放后，各种风格，流派的油画创作都有了一席之地。 油画创作就其题材划分，可分为主题画，风俗画，风景画，人物肖像画与静物画等。但不论何种题材，作品主要是依靠造型与色彩两大要素。也就是说，油画使用的是形，光，色这三大表现手段。 形，也就是形体。这就要求画家首先要具有造型能力，要有深厚的素描功底。没有很好的素描基础，要想画好油画，如同没有地基的高楼，是立不起来的。 光，也就是光效的表现。法国印象派兴起之后，引发了人们对光的研究与表现。画家对光的理解趋于了科学与理性。因而对光影的表现也就更加逼真生动。光与光影是烘托气氛的重要元素。这个道理只要看看戏剧舞台的灯光效果就不难理解了。 油画最重要的元素是色彩。色彩不同于调色板上的颜色。画家从来不会把调色板上的颜色，也就是工厂制造出来的颜料，原封不动地搬上画布的。这些颜色必须经画家精心地加以艺术化的调制，以求得色彩的柔和，逼真，色块与色块之间搭配的和谐统一。这就是人们通常所说的调子或色调。一幅油画的颜色不能是五颜六色的胡乱拼凑，也不能是纷繁庞杂，令人眼花缭乱的，而应该形成能体现出某种色彩倾向的，并且变化无端，微妙细腻的画面效果。 色调是油画的灵魂。没有调子，也就是说一幅油画如果没有形成一种基调，没有和谐统一且又富于变化的色块组合，那末，这幅油画可以说没有达到及格线。 除以上要求外，油画还讲究构图，笔触，节奏等等，这里就不细说了。 现代油画创作大致上分为两大类：抽象绘画和具象绘画。 所谓抽象油画，就是在画面的表现上抽掉了摹写自然物的形，代之以一种意念，意象的表现。这种绘画没有具体的自然界的形象，只有色块，线条，点面等等。读画者仅仅从这些色块的组合中引发联想与想象。如赵无极大师的作品就属于这一种。抽象绘画的艺术理论形形色色，但可用一句我国古人的话来概括，即" 大象无形 "。 通常，人们有一个误区，以为印象派，野兽派，未来派都叫抽象画。其实，这些艺术流派，不过是突破写实主义，古典主义的框架，并没有把形象抽取掉，至多只是把现实的形象加以现代化的表现，加以变形与夸张罢了。 当前，我国也出现了不少自诩为抽象派的画家，有些画家形成了一定风格，作品也有相当深度，但有些人可能缺乏素描基础，又没受过现实主义绘画的严格训练，误以为随便涂涂抹抹就是抽象画了。这样的作品含义不深，意趣不浓，既无装饰趣味，又没有刻意匠心，仅仅流于了形式。其实，它大大歪曲了抽象绘画的主旨。 在具象绘画中，除了全然写实的之外，有浓郁装饰趣味的，有变形的，或者介于抽象与具象之间的多种形式。 总之，如今是一个多元的时代，油画创作不论就内容或就表现形式来说，也是多种多样的。我们不能厚此薄彼，要让各种流派的作品在油画的百花园中，大放异彩。 以上谈的主要是指原创的油画作品。那种电脑绘画，临摹品，限量印刷的的印刷品或者那种粗制滥造，采用工厂方式"生产"出来的"行画(oil painting reproduction)"，就不在讨论的范畴了。 其实专业画师临摹的油画名片还是比较好的，印刷品是不能和其相提并论的。
Nov 5, 2007
上海市民群体的油画消费状况分析
（一） 上海市民收入情况所带来的买家艺术消费层次分析 近年来，随着人民生活水平的提高和家居装修的兴起，上海乃至全国都兴起了购买油画的热潮。作为艺术的油画作品也步入了市场化进程。同其他市场化的商品一样，油画作品和其消费者的市场也是分层次的，不同类型的消费者群体，他们的经济水平、艺术鉴赏品位、审美趣味和购买目的动机都不尽相同，相应的，向他们提供的艺术品的层次、品位、价格也是不同的，这也是艺术市场的客观规律之一。 艺术商一定要重视消费者的定位。消费者的类型应该是分成多种层次的，呈金字塔型分布。处于最高位置的当数真正的艺术收藏家，必须具备三个条件：一、具有很强经济实力；二、较高艺术鉴赏力三、较强的艺术收藏观念。这类群体非常稀有，他们的收入也不归类于普通的市民收入群体。同样，他们不会与一般的艺术消费者以同样价格消费同一层次的油画。除此之外，油画市场的消费者群体还包括另外几部分，经济实力派、知识分子阶层、广大市民阶层。我们总称为市民消费群体。从消费者数量来看，从经济实力派、知识阶层到普通市民阶层呈人数逐渐递增分布。他们由于收入的不同和欣赏力的差别，以及收藏观念的不同，使艺术市场的消费群体呈现出千差万别。可以说，上海的油画消费群体主要还是由除去真正收藏家以外的另几个群体组成的。 这里，我们着重分析上海的市民消费群体。首先来分析由上海市劳动与社会保障局向社会公布的，2003年上海市民的收入水平（如图一所示）：按照全市2003年度职工年工资标准结果，表明：上海市职工年工资价位为30085元，比前年同期增长11.3%。 第一、 外资企业，41601元；第二、港澳台投资企业；第三、国有企业，28667元；最低、是集体企业，为17542元。 图一：
从行业来看（图二所示），金融业年工资稳居榜首，54833元；第二、交通运输仓储和邮政业37732元；第三位是信息传输、计算机服务和软件业36907元；最低、是居民服务和其他服务业16222元，最高行业工资价位是最低行业的3.4倍。 图二： 从职位来看，中高级管理人员年工资遥遥领先（如图三所示）在五大类人员中，中高级管理人员由于处于企业的决策层，形成其工资价位居高不下，达到54322元，列居第二的是专业技术人员，为32061元；第三位是办事人员23475元；生产技术工人为21390元，略高于商业服务人员的20967元。 图三： 按年龄层次，年工资二头高中间低态势： 年龄在26-35岁及51岁以上的职工平均工资价位较高，分别是34470元、36539元。调查显示：26至35岁的职工工资价位较高，是由于他们的平均学历明显高于其他年龄段；二是这些人员中有46%在专业技术岗位上工作，如电子、电气和计算机技术岗位；三是对这一年龄段初高中学历人员来说，年纪轻、精力充沛又是他们的优势，工资价位明显高于35岁以上人员。而51岁以上的职工工资价位之所以较高，是由于其具有丰富工作经验和较强的管理能力，并且学历层次也较高。调查显示，51岁以上职工中，有34%在中高级管理岗位上工作，有27%在专业技术岗位上工作。大专以上学历工资与工作年限成正比；高新技术人员工资价位高；房地产业成为一块'香馍馍'。 由此我们可以得出：上海油画市场潜在的消费主力军：金融、交通运输仓储和邮政业、信息传输、计算机服务和软件业的白领；技术工作者。。消费年龄在35岁以下和51岁年龄以上。其他普通消费者的购买力还不强。 再看看2004上半年上海市统计局据抽样调查，城市居民家庭人均可支配收入7409元，比去年同期增长8％；农村居民家庭人均可支配收入4340元，同比增长7％。 城乡居民储蓄继续增加。至6月末，城乡居民储蓄存款余额5557.51亿元，比年初增加641.93亿元，同比多增139.53亿元。从消费价格看，上半年居民消费价格比去年同期微降了0.4％，其中，食品类价格指数上涨0.8％，居住类价格上涨0.5％，衣着类价格下降4.4％。 从上面我们又可以得出：随着上海城乡居民收入的逐步提高，在人们可支配的收入里，将逐渐增加用于购买艺术消费品的支出。确实，通过当今的上海油画市场，我们已经看到为数可观的油画购买者是普通的市民。他们或者将油画作为室内装潢的一部分装饰自己的家居，或者当作礼物送人，也有希望以自己能够接受的价格购得一幅知名画家作品收藏。上序数据仅是理论分析上的上海买家经济状况分析。在事实上，由于文化观念、欣赏水平、消费心理、社会艺术欣赏导向等等众多因素的千差万别，上海普通购买者对油画价格的整体承受程度还是低的，这些因素导致了上海油画市场一直没能真正打开局面。在油画市场的范畴内，买家对油画价格的承受度就是油画市场发展水平的内在标志。无论如何，油画艺术不是少数有收藏家的享受，让市场里的油画走进普通人家，有助于让油画艺术在上海形成广泛的市民基础，并相应提高城市整体的艺术欣赏水平。
（二） 上海市民买家的消费心理分析
如何更好的了解消费者的购画心理，并引导市场消费，在这里，我们需要分析一下买家购画的心理动机：
1． 个人情趣的需要：有许多买家认为挂在室内的油画既装饰了家居环境，同时也衬托了其高雅情趣和卓而不群的品位，或是某类作品使其鲜明的个性得到张显，出于个人爱好和鉴赏习惯而购买。一些有实力的买家往往不惜一切代价购买自己感兴趣的油画作品，无论在画廊还是拍卖行都是举足轻重的群体。
2． 怀旧心理：认为某件油画作品能承载自己的对过去的回忆和感怀，满足他的某种怀旧心理渴求。
3． 传给后代：认为某类画作是其赋予后代的有价值馈赠。
4． 学习、研究、继承和保存优秀作品：认为某种风格的作品是油画艺术的命脉的延续，值得继续学习和发掘研究。
5． 保值（增值）心理：好的油画作品，是有不断上升的升值空间，比房地产、股票有更高回报率，因此具有独到眼光的投资家认为，通过投资油画作品来实现资产的增值保值是是十分稳妥的，事实也的确如此。
6． 从众心理：认为既然现在油画收藏如此流行，若是没有跟上这个时尚风潮，会落后于形势。持有此类心理的购买者一般在作出投资决策时，会下意识地随波逐流，属于头脑不冷静的类型。通常是盲目、冲动性的买画。
7． 虚荣心理：认为收藏某些艺术品能够使其尊崇的人生价值和弥坚信念得以实现，艺术品实质上已升华为他们灵魂的依托，有助于提高他们的社会评价。
8． 自我实现心理：出于对未来的不确定心理或者预感到未来的危机，而将艺术品收藏作为其寻求内在安全感的心灵保障。
根据目前的上海市民的可支配收入水平和消费心理分析，可以看到市民的整体收入水平还不高；购画的经济能力有限；消费心理还不成熟。除去北京，上海是目前国内艺术交流、交易活动最频繁的大都市，然而大部分市民或许还不能承受几乎相等于其工薪收入水平的油画价格。相当一部分人不习惯以相应的价格买画，甚至随便张口向熟识的画家要画，甚至名家作品。然而在目前的市场经济形势下，艺术作为生活消费的一部分，是有价格的。如果社会上一旦形成了一种风气，如果居家装饰中没有艺术原创作品，这个家庭的装饰就被看作没有品位，油画的消费就可能变为一种社会时尚。这里关键是市民收入，购买油画的支出如果不影响家庭生活，市民的消费积极性就会大大提高。美国购买艺术品的主要是中产阶级，按照美国国家统计局的规定，一个典型的4口的中产阶级家庭，年收入应在 18576-74306美元之间。1989年，美国中产阶级人数占总人口的63．3％，年收人低于18576美元的穷人占总人口的22．1％，年收入高于74306美元的富人占总人口的14．6％（据1992年3月2日《上海泽报》）。根据资料，1988年纽约56家大画廊平均作品价约1万美元，而中小画廊售出作品的价格在2000-5000美元之间居多。据了解，一般家庭购买作品超过4000美元就要认真考虑。如果取中间值，一幅作品售价3500美元，约占一个中产阶级家庭年收入（42000美元）的1／12。按照这个比例，并参照2003年上海市民年工资价位30085元来分析，应该价位在2500元的油画作品能被大多数家庭承受。 受到普通市民购买力的限制，目前针对市民销售的油画价格通常都不高。在经营形式上，最常见的就是行画买卖了（严格意义上说，此类油画不算油画艺术），约几十元到几百元不等，多数一些以配框为主的小画廊销售。然而，也有一些小型的"月末拍卖会"形式的油画拍卖，价格不是很高但欣赏价值不错；还有画商与艺术家联手举办"让书画走进千家万户"活动，以较低价格结合购物券抽签形式向一般市民出售艺术品。另一种被称为"有限印刷"艺术品交易能在一定程度上满足那些想得到名人精品而又缺乏相应经济实力的人们的需要。上海文汇文化艺术发展公司曾先后推出过吴冠中的油画《夜咖啡》等有限印刷佳作，总共仿真精印78幅，作品编号后，由吴冠中亲笔签署，上海市公证处逐幅公证后，配置高级镜框出售，形成一个"艺术大师绘画精品有限印刷系列"。油画艺术面向广大市民工薪阶层，对于推动市场发展是有意义的，但要警惕批量"商品画"即"行画"倾向。作为引导艺术市场发展方向的商家，同样有责任引导调整市民的艺术消费观念。
（三） 上海卖家的心理分析
画商、画家本人或是画作的拥有者对所出售作品价格的企盼程度一般都高于市场实际价格。然而这种价格期望在大多数情况下，往往不能完全满足。为了使所售画作的价格更加符合实际，在售画过程中，画家与画商通过不断的协调，调整作者的报价。有的画家自我感觉太好，自视过高，被市场所拒绝。艺术家要学会适应市场，调整自己的价格企盼值。艺术经营商需要了解。尊重作者的价格企盼，求得合理的、双方可接受的调整价格。 上海目前的油画市场是买方市场，在市场走红的画家只是极少数，对于大多数走向艺术市场的画家来说，有"一颗平常心"显得尤为重要。 油画的价格水平还有其时间性和地域性，是个相对性的概念。常常是，一个艺术家在上海市场的价位不同于在广州市场的价位，在国内市场价位不低的艺术家到了海外由于一时无人知晓赏识就谈不上市场价位。 画家的作品价格确定需要由市场经过时间的检验。它不是纯粹主观的产物，艺术家本人的意愿和经营商、代理商的预测、决断，其实都不能决定价位。市场和时间才能决定价位的真实可靠性和现实适应性。一位画家的不同作品价格也不一定在同一价格水平。有人偶尔有一件作品卖到2千元，但其他作品的通常售价不过每幅数百元。 （四） 作为桥梁的市场对买家、卖家的互动影响
油画作品的市场化是否会影响油画艺术的健康发展？事实上，通过努力，油画市场对油画艺术发展是可以建立起积极的促进关系的。艺术与商业结缘未必就一定毁灭了艺术天才、扼杀了艺术精品的产生。油画精品一直是油画市场的焦点所在，有着一定的艺术导向作用，市场同样需要油画精品。画家专注于炮制"商品画"固然不当，但是具有精品意识的画家，即便与市场打交道，也一样可能产生出传世佳作来。西方美术史上也有不少名作本身就是买家的定货。荷兰商品画家伦勃朗的许多画作都是定货，如《蒂尔普医生的解剖课》，当时就获得了很高评价，也更激发了他的创作，这是事实。可以说：
油画市场兴起催生了油画收藏热：油画市场促进油画收藏热的兴起，而油画收藏又进一步构筑油画市场的互动关系和制约模式。
画廊和油画拍卖推动了行业发展：画廊和油画拍卖的兴起诱发了人们油画收藏意识的悄然萌动与觉醒，而这中可贵的意识推动了油画艺术迈向市场化和法制化的历程。
油画拍卖和画廊培育了收藏者：在艺术市场的大潮中，众多的收藏者为油画市场的欣欣向荣做出不可磨灭的贡献。而油画艺术也陶冶了他们情操，甚至让他们从中获利。
油画收藏陶冶了市民的艺术情操，丰富了精神世界：油画虽然在中国发展历史很短，但已有相当一批名家和名画出现，而且新的名家名作不断涌现。收藏者们通过对油画的物质追求和精神探索，不仅在物质上得到满足，同时也确认了自己的精神价值。
油画的市场化，不仅营造了生机盎然的油画市场，也为国民经济增长作出了自己的贡献。它有效地催生了人们对艺术欣赏的内在需求和强烈的购买欲望，拉升了从拍卖业到画廊业整个油画市场的景气度。油画收藏扭转了宏观大市场的低迷状况，激活了油画市场对消费者需求的快速反应机制。
油画家的创作通过画商的市场经销，提高了公众对其作品的认知度和喜爱度：油画作品不应该是脱离公众而孤芳自赏的，必须借助普通市民的欣赏参与，才能得到更加广阔的发展空间。可以说，油画收藏强化了公众对油画艺术的价值认同，也培养了公众的对艺术的欣赏品位，同时也推动了上海油画艺术的发展。
华东师范大学艺术学院02级研究生
章琍娜
从行业来看（图二所示），金融业年工资稳居榜首，54833元；第二、交通运输仓储和邮政业37732元；第三位是信息传输、计算机服务和软件业36907元；最低、是居民服务和其他服务业16222元，最高行业工资价位是最低行业的3.4倍。 图二： 从职位来看，中高级管理人员年工资遥遥领先（如图三所示）在五大类人员中，中高级管理人员由于处于企业的决策层，形成其工资价位居高不下，达到54322元，列居第二的是专业技术人员，为32061元；第三位是办事人员23475元；生产技术工人为21390元，略高于商业服务人员的20967元。 图三： 按年龄层次，年工资二头高中间低态势： 年龄在26-35岁及51岁以上的职工平均工资价位较高，分别是34470元、36539元。调查显示：26至35岁的职工工资价位较高，是由于他们的平均学历明显高于其他年龄段；二是这些人员中有46%在专业技术岗位上工作，如电子、电气和计算机技术岗位；三是对这一年龄段初高中学历人员来说，年纪轻、精力充沛又是他们的优势，工资价位明显高于35岁以上人员。而51岁以上的职工工资价位之所以较高，是由于其具有丰富工作经验和较强的管理能力，并且学历层次也较高。调查显示，51岁以上职工中，有34%在中高级管理岗位上工作，有27%在专业技术岗位上工作。大专以上学历工资与工作年限成正比；高新技术人员工资价位高；房地产业成为一块'香馍馍'。 由此我们可以得出：上海油画市场潜在的消费主力军：金融、交通运输仓储和邮政业、信息传输、计算机服务和软件业的白领；技术工作者。。消费年龄在35岁以下和51岁年龄以上。其他普通消费者的购买力还不强。 再看看2004上半年上海市统计局据抽样调查，城市居民家庭人均可支配收入7409元，比去年同期增长8％；农村居民家庭人均可支配收入4340元，同比增长7％。 城乡居民储蓄继续增加。至6月末，城乡居民储蓄存款余额5557.51亿元，比年初增加641.93亿元，同比多增139.53亿元。从消费价格看，上半年居民消费价格比去年同期微降了0.4％，其中，食品类价格指数上涨0.8％，居住类价格上涨0.5％，衣着类价格下降4.4％。 从上面我们又可以得出：随着上海城乡居民收入的逐步提高，在人们可支配的收入里，将逐渐增加用于购买艺术消费品的支出。确实，通过当今的上海油画市场，我们已经看到为数可观的油画购买者是普通的市民。他们或者将油画作为室内装潢的一部分装饰自己的家居，或者当作礼物送人，也有希望以自己能够接受的价格购得一幅知名画家作品收藏。上序数据仅是理论分析上的上海买家经济状况分析。在事实上，由于文化观念、欣赏水平、消费心理、社会艺术欣赏导向等等众多因素的千差万别，上海普通购买者对油画价格的整体承受程度还是低的，这些因素导致了上海油画市场一直没能真正打开局面。在油画市场的范畴内，买家对油画价格的承受度就是油画市场发展水平的内在标志。无论如何，油画艺术不是少数有收藏家的享受，让市场里的油画走进普通人家，有助于让油画艺术在上海形成广泛的市民基础，并相应提高城市整体的艺术欣赏水平。
（二） 上海市民买家的消费心理分析
如何更好的了解消费者的购画心理，并引导市场消费，在这里，我们需要分析一下买家购画的心理动机：
1． 个人情趣的需要：有许多买家认为挂在室内的油画既装饰了家居环境，同时也衬托了其高雅情趣和卓而不群的品位，或是某类作品使其鲜明的个性得到张显，出于个人爱好和鉴赏习惯而购买。一些有实力的买家往往不惜一切代价购买自己感兴趣的油画作品，无论在画廊还是拍卖行都是举足轻重的群体。
2． 怀旧心理：认为某件油画作品能承载自己的对过去的回忆和感怀，满足他的某种怀旧心理渴求。
3． 传给后代：认为某类画作是其赋予后代的有价值馈赠。
4． 学习、研究、继承和保存优秀作品：认为某种风格的作品是油画艺术的命脉的延续，值得继续学习和发掘研究。
5． 保值（增值）心理：好的油画作品，是有不断上升的升值空间，比房地产、股票有更高回报率，因此具有独到眼光的投资家认为，通过投资油画作品来实现资产的增值保值是是十分稳妥的，事实也的确如此。
6． 从众心理：认为既然现在油画收藏如此流行，若是没有跟上这个时尚风潮，会落后于形势。持有此类心理的购买者一般在作出投资决策时，会下意识地随波逐流，属于头脑不冷静的类型。通常是盲目、冲动性的买画。
7． 虚荣心理：认为收藏某些艺术品能够使其尊崇的人生价值和弥坚信念得以实现，艺术品实质上已升华为他们灵魂的依托，有助于提高他们的社会评价。
8． 自我实现心理：出于对未来的不确定心理或者预感到未来的危机，而将艺术品收藏作为其寻求内在安全感的心灵保障。
根据目前的上海市民的可支配收入水平和消费心理分析，可以看到市民的整体收入水平还不高；购画的经济能力有限；消费心理还不成熟。除去北京，上海是目前国内艺术交流、交易活动最频繁的大都市，然而大部分市民或许还不能承受几乎相等于其工薪收入水平的油画价格。相当一部分人不习惯以相应的价格买画，甚至随便张口向熟识的画家要画，甚至名家作品。然而在目前的市场经济形势下，艺术作为生活消费的一部分，是有价格的。如果社会上一旦形成了一种风气，如果居家装饰中没有艺术原创作品，这个家庭的装饰就被看作没有品位，油画的消费就可能变为一种社会时尚。这里关键是市民收入，购买油画的支出如果不影响家庭生活，市民的消费积极性就会大大提高。美国购买艺术品的主要是中产阶级，按照美国国家统计局的规定，一个典型的4口的中产阶级家庭，年收入应在 18576-74306美元之间。1989年，美国中产阶级人数占总人口的63．3％，年收人低于18576美元的穷人占总人口的22．1％，年收入高于74306美元的富人占总人口的14．6％（据1992年3月2日《上海泽报》）。根据资料，1988年纽约56家大画廊平均作品价约1万美元，而中小画廊售出作品的价格在2000-5000美元之间居多。据了解，一般家庭购买作品超过4000美元就要认真考虑。如果取中间值，一幅作品售价3500美元，约占一个中产阶级家庭年收入（42000美元）的1／12。按照这个比例，并参照2003年上海市民年工资价位30085元来分析，应该价位在2500元的油画作品能被大多数家庭承受。 受到普通市民购买力的限制，目前针对市民销售的油画价格通常都不高。在经营形式上，最常见的就是行画买卖了（严格意义上说，此类油画不算油画艺术），约几十元到几百元不等，多数一些以配框为主的小画廊销售。然而，也有一些小型的"月末拍卖会"形式的油画拍卖，价格不是很高但欣赏价值不错；还有画商与艺术家联手举办"让书画走进千家万户"活动，以较低价格结合购物券抽签形式向一般市民出售艺术品。另一种被称为"有限印刷"艺术品交易能在一定程度上满足那些想得到名人精品而又缺乏相应经济实力的人们的需要。上海文汇文化艺术发展公司曾先后推出过吴冠中的油画《夜咖啡》等有限印刷佳作，总共仿真精印78幅，作品编号后，由吴冠中亲笔签署，上海市公证处逐幅公证后，配置高级镜框出售，形成一个"艺术大师绘画精品有限印刷系列"。油画艺术面向广大市民工薪阶层，对于推动市场发展是有意义的，但要警惕批量"商品画"即"行画"倾向。作为引导艺术市场发展方向的商家，同样有责任引导调整市民的艺术消费观念。
（三） 上海卖家的心理分析
画商、画家本人或是画作的拥有者对所出售作品价格的企盼程度一般都高于市场实际价格。然而这种价格期望在大多数情况下，往往不能完全满足。为了使所售画作的价格更加符合实际，在售画过程中，画家与画商通过不断的协调，调整作者的报价。有的画家自我感觉太好，自视过高，被市场所拒绝。艺术家要学会适应市场，调整自己的价格企盼值。艺术经营商需要了解。尊重作者的价格企盼，求得合理的、双方可接受的调整价格。 上海目前的油画市场是买方市场，在市场走红的画家只是极少数，对于大多数走向艺术市场的画家来说，有"一颗平常心"显得尤为重要。 油画的价格水平还有其时间性和地域性，是个相对性的概念。常常是，一个艺术家在上海市场的价位不同于在广州市场的价位，在国内市场价位不低的艺术家到了海外由于一时无人知晓赏识就谈不上市场价位。 画家的作品价格确定需要由市场经过时间的检验。它不是纯粹主观的产物，艺术家本人的意愿和经营商、代理商的预测、决断，其实都不能决定价位。市场和时间才能决定价位的真实可靠性和现实适应性。一位画家的不同作品价格也不一定在同一价格水平。有人偶尔有一件作品卖到2千元，但其他作品的通常售价不过每幅数百元。 （四） 作为桥梁的市场对买家、卖家的互动影响
油画作品的市场化是否会影响油画艺术的健康发展？事实上，通过努力，油画市场对油画艺术发展是可以建立起积极的促进关系的。艺术与商业结缘未必就一定毁灭了艺术天才、扼杀了艺术精品的产生。油画精品一直是油画市场的焦点所在，有着一定的艺术导向作用，市场同样需要油画精品。画家专注于炮制"商品画"固然不当，但是具有精品意识的画家，即便与市场打交道，也一样可能产生出传世佳作来。西方美术史上也有不少名作本身就是买家的定货。荷兰商品画家伦勃朗的许多画作都是定货，如《蒂尔普医生的解剖课》，当时就获得了很高评价，也更激发了他的创作，这是事实。可以说：
油画市场兴起催生了油画收藏热：油画市场促进油画收藏热的兴起，而油画收藏又进一步构筑油画市场的互动关系和制约模式。
画廊和油画拍卖推动了行业发展：画廊和油画拍卖的兴起诱发了人们油画收藏意识的悄然萌动与觉醒，而这中可贵的意识推动了油画艺术迈向市场化和法制化的历程。
油画拍卖和画廊培育了收藏者：在艺术市场的大潮中，众多的收藏者为油画市场的欣欣向荣做出不可磨灭的贡献。而油画艺术也陶冶了他们情操，甚至让他们从中获利。
油画收藏陶冶了市民的艺术情操，丰富了精神世界：油画虽然在中国发展历史很短，但已有相当一批名家和名画出现，而且新的名家名作不断涌现。收藏者们通过对油画的物质追求和精神探索，不仅在物质上得到满足，同时也确认了自己的精神价值。
油画的市场化，不仅营造了生机盎然的油画市场，也为国民经济增长作出了自己的贡献。它有效地催生了人们对艺术欣赏的内在需求和强烈的购买欲望，拉升了从拍卖业到画廊业整个油画市场的景气度。油画收藏扭转了宏观大市场的低迷状况，激活了油画市场对消费者需求的快速反应机制。
油画家的创作通过画商的市场经销，提高了公众对其作品的认知度和喜爱度：油画作品不应该是脱离公众而孤芳自赏的，必须借助普通市民的欣赏参与，才能得到更加广阔的发展空间。可以说，油画收藏强化了公众对油画艺术的价值认同，也培养了公众的对艺术的欣赏品位，同时也推动了上海油画艺术的发展。
华东师范大学艺术学院02级研究生
章琍娜
大芬油画村的缘起
大芬村占地面积4平方公里，本村村民有300多人，外来流动人口1万多人。改革开放以前，村民只依靠种田为生，人均年收入不到200元。1989年，香港画商黄江来到大芬，租用民房进行油画的收集和转销，同时招募学生帮助他完成与外商签订的订单，由此将油画这种特殊的产业带进了大芬村。由黄江和黄江的学生在大芬村形成的油画生产、收购和集中外销一条龙的体系，于是便产生了“大芬油画村”的雏形。随着越来越多的画师或画工纷纷在大芬村安营扎寨，在黄江之外，又出现了两家规模较大专门经营油画收购和外销的画商,而每个画商的周围都聚集了一批专门为其供货的画工。“大芬油画村”的规模一年一年的扩大，名声也一年一年的提高。于是就形成了今天的“大芬油画村”。
前往大芬油画村的车有: 106、309、322、353、357、361、371、372、380B、389、462、509、521、524、531、616、812、822、832、836A、863、870、910、937、938、943、955、959、980(含大小巴)
根据最新统计的数字，截止2005年4月，整个大芬油画村（包括茂业书画交易广场、东大街国际油画城）共有书画、工艺等经营门店近500家，其中从事油画生产和销售的有445家，从事国画、书法创作和销售的有55家，从事画框、颜料等相关配套产品经营的有28家，从事工艺、雕刻、刺绣、装饰及书画培训的共有15家，由于不少画师在外地开有设培训班，如集艺源公司在潮州、美联画坊在广西和湖南，同时向大芬村各画商供画的画师或画工除大芬村及周边的村和社区以外，还有不少来自全国其他省市，仅为吴家尧的美联画坊作画的画工就有700多人，而集艺源油画公司在全国各地大大小小的培训班有500多个。据初步统计，以大芬村为中心,在深圳市从事油画生产的画师、画工及学员最少在8000人以上，而且这一数字还在不断增长。
（一）销售额在逐年增长。大芬油画的崛起，使大芬这个没有工业企业的小村，年1～5月，油画村的销售额已达到5250万元，其中出口3150万元，内销2100万元。预计2004年全年的销售额可达到1.26亿元 。
（二）油画村的形成使村民走上了方便快捷的致富之路。画商画师来的多了，店铺开得多了，村民房屋的租金也水涨船高，村民收入逐年大幅增加。上月中旬，中央电视台农村经济栏目专程派记者来大芬村采访，拍摄制作了反映大芬村村民通过油画产业发家致富的专题片，在中央电视台“致富经”栏目播出后，引起了较大反响，全国各地有不少观众打来电话，希望加入大芬村油画产业的行列。
（三）油画村的形成为村民创造了具有浓厚文化氛围的生活环境。村民所到之处看到的是油画，闻到的是墨香，所接触的都是具有艺术修养的文化人，生活在这样的环境中，不仅身心愉快，赏心悦目，而且经过长年的耳濡目染，村民的人格品质和道德情操都在不知不觉之中得到了陶冶和净化。对于成年人是如此，对于正处于成长阶段的少年儿童来说，油画村为他们创造了得天独厚的生活环境。自从油画村形成规模之后，村里的环境卫生变样了，村民变得文雅了，治安环境更是比以前有了较大的改善。
（四）油画产业的发展为村民及外来人员提供了大量的就业机会。在以大芬村为中心从事油画创作的数千名画工中，许多是来自本地及福建、江西、湖北等周边省份的村民、下岗工人和待业青年，其中还有部分是残疾人，大芬油画市场的形成，为他们学习绘画和参与油画生产提供了大量的机会，他们也可以通过油画创作，实现自己的人生理想，体现自己的人生价值。
（五）油画村的形成促进了中外文化的交流与融合。大芬村本为客家人的居集地，油画的落地生根，使客家人与西洋油画产生了千丝万缕的联系。而大芬油画走俏欧美十多个国家，又使“中国·大芬”的名字在国外广为传播。在大芬村，经常可以看到不同肤色的国外画商在各家画店进出，有一名法国画商干脆在村里租房长住，依靠生活在画家村的独特优势，通过互联网与手提电话，做起了批发油画的生意。今年“五一”期间，俄罗斯海参威市画家联盟的七名画家自费来到大芬油画村举办油画作品展，这是外国艺术家在大芬油画村举办的第一次展出，这次画展拓宽了大芬油画与国际交流的渠道。
（六）油画村的形成和油画产业的发展，为深圳聚集了一批身怀绝技的专业人才。在大芬村众多的画师之中，有不少是各省市美术家协会的会员甚至副会长，有30%的画师毕业于正规的美术院校。著名画家路中汉在大芬村举办过个人画展，胡北美协的鲁慕迅先生曾在茂业书画城设点作画。最近，由于文博会在大芬设立分会场的消息已见诸报端，原来聚居于东莞、惠州等地的画家也接二连三地来到大芬寻找落脚点。
还处于初级阶段，虽然行画市场还不错，但是原创油画和国画的营销力度还是很薄弱，还无法和北京上海这样的原创基地相互对比，
此外国画的市场也有待挖掘，比如韩国、日本等东南亚的国画行画市场也有一定潜力，却没有开发好。
油画oil painting的发明者是谁
古代欧洲的画家们在谙熟和热衷于坦培拉绘画技法的同时，渐渐发现了它的缺陷与不足，比如：颜色之间难以融合晕接，色彩不够柔和光艳，小笔多次排线过于费力，以及在潮湿的气候条件下易发霉和低度抗碰撞能力。鉴于此，画家们发明了用透明漆上光以保护画面的办法。而后又有人在坦培拉底层画面上做多层透明色罩染，后称之为上光术或釉染法，这便形成了混合技法，一种非坦培拉绘画亦非油画 oil painting的技法。达．芬奇的《最后的晚餐》就是油性坦培拉绘画。达．芬奇对油性颜料进行过多次研究运用，但技术不够成熟，致使许多作品没能留存下来。那么，油画 oil painting的发明者是谁？单纯用油做绘画媒剂，在拜占庭时代就有人试验过。据记载，这种画放在烈日下曝晒数月仍不会干燥。1200年，僧侣西奥费尔．鲁济罗斯写了有关油画的论文《多样化的艺术形式》，在这篇论文中，他介绍了亚麻仁油和阿拉伯树脂的使用方法。13世纪末在英伦三岛出现过类似油画的绘画。14世纪末，尼德兰的两位画家凡．爱克兄弟（杨．凡．爱克及其兄胡伯特．凡．爱克）找到了一种简便的用油溶化颜料作画的方法，创作了纯粹的油画。美术史家虽不能断定凡．爱克兄弟是油画的发明者，但至少他们是在前人试验的基础上找到了一种理想的以油脂为主的绘画媒剂配方。不少专家认为他们最大的功绩是在油脂中加入了天然树脂，使行笔流畅、媒剂速干。杨．凡．爱克的《阿尔诺芬尼的婚礼》一画和他最著名的作品《根特祭坛画》（现藏于比利时根特城的圣．巴冯教堂，由23幅画组成。）被认为是欧洲油画发展史上的重要作品。凡．爱克兄弟发明的调油技术，据说是用一种“白布鲁日光油”和亚麻仁油混合在一起作画，用它们调和他在坦培拉绘画中使用过的颜料，发现效果很好。（一些研究者认为，“白布鲁日光油”是精馏松节油，现在我们仍使用松节油稀释油画颜料。）意大利最早研究并掌握油画技法的画家安东奈洛．达．梅西纳（Antonueuo De Messina 1430-1479）据说是在去尼德兰了解到凡．爱克兄弟的油画技法之后，回到威尼斯传授油画 oil paintings 颜料使用方法的，自此油画作为一个独立的画种在欧洲大陆流行开来。几百年来，经过各代画家的继承和创造，油画得到进一步的发展与完善。
学术分歧?上师大油画(oil painting)班毕业论文集体被毙内情
上海师大美术学院油画(oil painting)专业全体本科毕业生论文因“不具学术性”未通过答辩，副校长证实该事件与指导教师和学院院长之间学术分歧有关，学校要求学生重写论文方能毕业。 上海师范大学2002级油画(oil painting)本科班12名学生论文被集体“枪毙”，理由是“内容只能算作个人小结，不具学术性，需要重写”，而学生指导老师则认为避免了通常学生论文的“千篇一律和抄袭”，也没有泛泛空论。事情的背后，是学院院长和指导教师的“学术分歧”。针对这一事件，学校介入调处，要求学生重写论文才能毕业，然后解决两人的学术矛盾。
省市领导昨在榕参观厦门油画(oil painting)展
省市领导昨在榕参观厦门油画展 (2007-05-19) 做强做大厦门油画产业.厦门油画产业已粗具规模，要抓住机遇，加快发展；要遵循艺术规律，大胆探索，勇于创新；要面向市场，突出原创，完善产业链，尽快把厦门油画产业做强做大。这是省市领导昨天在榕参观厦门油画展后对我市油画产业发展提出的殷切希望。 昨天上午，省领导卢展工、黄小晶、王三运、陈少勇等，在市领导刘赐贵等陪同下，先后来到第四届中国福建商品交易会厦门展览厅，参观海沧区美术（油画）产业协会的油画作品展。省市领导对厦门油画产业发展的成绩给予充分肯定，并对加快油画产业的发展提出希望和要求。 据悉，去年厦门油画首次在“商交会”参展。省委书记卢展工在参观厦门油画产业展览后给予高度评价，希望厦门油画产业做大做强，并希望今年继续参展。按照卢展工的要求，厦门油画展在今年“商交会”上扩大了规模，参展作品数量增加，质量也显著提高。 在陪同省领导参观之前，市委副书记、市长刘赐贵专程提前来到展厅，对厦门油画产业的发展情况进行考察调研。刘赐贵说，油画是高雅艺术，油画产业是文化产业的重要一翼。要充分尊重艺术创作的客观规律，尊重画家的辛勤劳动。当听说曾有一位画家以客家土楼为题材的作品应邀到巴黎卢浮宫参展，并以12万元的高价被收藏时，刘赐贵表示，就是要让画家的劳动成果物有所值。 刘赐贵对随行的副市长黄菱和市有关部门负责人说，政府要加大对文化产业的扶持力度，要为艺术家的创作营造良好的环境。当听说此次参展一半的摊位费由政府买单时，刘赐贵点头说好。他说，可以组织画家讨论一下，看还有什么困难，需要政府提供什么支持，提出来，我们来研究，大家齐心协力把油画产业做强做大。
Tags: 油画 oil painting giclee print portrait from photo
Tags: 油画 oil painting giclee print portrait from photo
三国系列油画(oil painting)首次在内地大规模展出
5月17日至20日，“三国情 画三国”主题油画(oil painting)藏品在北京展出，吸引了艺术界、收藏界以及众多三国迷的广泛关注。 这批油画是马来西亚华侨骆锦地收藏的52幅三国系列油画中的精品，是首次在中国内地大规模展出。 作为一名成功的商人，在马来西亚骆锦地邂逅了来自福建的青年画家薛金拥，双方一谈即合，从此薛金拥开始了长达14年的三国组画创作生涯。在创作期间，薛金拥全心全意画三国，而生活等其他问题则由骆锦地全权负责。从第一幅《赵云夺青虹》到此后的《常山赵子龙》、《初出茅庐》、《张飞喝退曹军》等，企业家携手艺术家的创新合作模式，使双方收获了52幅渲染三国精神、三国魂魄、三国英雄的油画作品。 由于艺术品市场上鲜有三国演义题材的油画作品，在组画还未全部完成前，就有国内外收藏家密切关注这一系列画作，曾经有很多外国人提出要高价购买这些油画(oil painting)作品，但骆锦地表示，他接下来要做的是到更多的国家开办画展，让三国故事和三国英雄为更多的外国人所熟识。 尽管骆锦地坦言并非出于市场眼光收藏、展出三国油画作品，但这些作品的艺术价值和市场价值却毋庸讳言。出席本次画展的不仅有文化部相关领导、马来西亚驻华使馆人员，还包括许多艺术品行业专家、画廊(oil painting)经营者，他们不仅对本次画展给予很高的评价，更对这些作品的市场潜力非常看好。文化部文化市场发展中心艺术品评估委员会对其中的作品进行了评估，并向骆锦地颁发了评估证书。
责编：王菲 来源：经济参考报
Tags: 油画 oil painting chinese oil painting
责编：王菲 来源：经济参考报
Tags: 油画 oil painting chinese oil painting
如何选购搭配无框装饰画(decoration oil painting)扮家
目前无框装饰画(decoration oil painting)生产厂家非常多，产品质量也有极大的差别。一幅cm的装饰画，质量差的只需要20来元，质量中等的需要70来元，而顶级品牌的则大多在100元以上。消费者一不小心就会掉入价格陷井。 区分一幅无框画的质量，主要从以下几方面入手：版权（著作权）、背板、色彩、装裱等
一、版权 合法的最顶尖的顶尖装饰画品牌必须拥有该画样在中国大陆的用于制画的著作权（又称版权）。而目前大多数中低价的无框画均没有版权。由于是盗版无框画无法取得最原始的画样数据，因此也无法达到最高质量的制画效果，诸如：对细节的精确描述 、对色彩的真实还原等等。也正因为版权问题，因此，大多数廉价的无框画均没有品牌和商标。而是以外贸自居。而高端的无框装饰画品牌因为拥有最原始的画样数据，从而保证了最高质量的制画效果。而且绝对是有品牌的。
二、背板 无框装饰画不同于以往的有框装饰画。因为有框装饰画不存在背板问题，只存在画框的质量问题。而无框装饰画对背板的要求是相当严格的。 最重要的体现在以下两点： 1、平整性：也就是说画纸是装裱在背板上的，如果背板本身并不平整，有凹凸不平或是有细小的颗粒，均会引起装饰画表面的不平，从而影响装饰画的视觉效果； 2、背板的不易变形性：装饰画背板在装饰您居家的同时也要经受每天的热胀冷缩、风吹光照等等。这样就容易使背板变形扭曲。试想一下扭曲后的装饰画将是怎样。即使是有轻微的扭曲变形，在室内不同光线（窗户射入的光线和射灯）作用下都会令装饰画变得丑态百多。而大画幅的装饰画就更容易变形。目前国内的廉价装饰画为节约成本，采用的大多数都为市场上极为普通的厚度仅为 1CM 的廉价密度板 。此种板材密度系数极低，不仅表面不够平整，而且极易变形。有时某些装饰画在刚刚装裱上去时就会发生背板变形的情况，更何况 1 、2 年后呢？而顶尖装饰画品牌大多采用进口的高密度板，板材的厚度达到1.5CM。由于密度高，重量也较重，一幅40x40cm的装饰画的质量大约在4公斤左右。同时板材经过严格的预处理，可以保证画板的平整和不变形。而超过cm以上的装饰画即使采用这种经严格处理过的背板也会在 1-2 年内出现变形的情况。因此，优质的无框画厂家往往采用的是在板材中间加入幅条和特殊的填充物（厚度达到 2.5CM ），采用工程技术，加固背板，以保证背板的经久不变形。但是廉价的无框装饰画却是空心的。
三、色彩 众所周知，对于一个专业画家来说，颜料是极为重要的，也是其一笔很大的支出（进口颜料往往是国产颜料价格的好几倍）。同样道理，对于制作装饰画来说，颜料的几乎成为装饰画的灵魂所在。目前顶尖装饰画品牌制画所用的颜料均为美国进口专用制画颜料。颜料提供商往往能保证一个相当长时间（往往在五年以上）的不褪色承诺。 而廉价的装饰画为节约成本，采用的都是国内替代产品。因此，很难保证装饰画在不断接受紫外线照射的情况下不会出现褪色或是变色的现象。同时，劣质的颜料也很难真实再现精美画样的精确色彩，造成色彩偏差的现象。这就会使得，您在网上看到的画样色彩非常漂亮，而收到的装饰画却并不是这么一回事。
四、装裱 画的装裱就如同人的衣服，有最精确庞大的画样原始数据，最优质的背板材料，最精确还愿色彩的颜料，如果没有好的装裱，还不能算是一流的装饰画。顶尖装饰画品牌拥有国际最先进的德国装裱机、经验最丰富的装裱技师。以保证画面的平整无痕，覆膜的均匀不起泡，边角切模的精确和细致。而劣质的装饰画因为没有先进的设备和丰富经验的技师，也因为劣质的背板材料达不到要求，装裱后的画面，不仅用手去摸时会有不平整的感觉，更糟糕的是如仔细用肉眼去看时，也会发现不平整的地方。一个个细小的点点历历在目。时间久了，画纸和背板有时还会出现脱离起泡现象。而边角则是相当粗糙，密度板材的粗纤维在简易的颜料下面会显得特别的不均匀。
五、其他注意点 包装：因为装饰画属于易损商品，同时，物流企业也基本上不给予保价。因此在网上选购无框装饰画无框装饰画时，选择专业的包装也是十分重要的。
外贸：大家澄清一个事实：目前中国的工业制画工艺所采用的设备和技术基本上来自国外，因此，几乎不存在外贸的说法。当然也不存在什么外贸无框画和余单的问题。尤其是廉价装饰画，由于版权限制，根本不可能出口。
购买装饰画的预算：一般来说，装饰画费用和装修总费用的比例在1：100是比较合适的。也就是说装修总费用在8万元的话，装饰画的费用在800到1000元是一个比较合适的预算。
装饰画的搭配和选择：家庭挂画是一个个性特别强的装饰行为。由于每个人或每个家的装饰风格、个性爱好的不同，选购的装饰画都可能不同。同时，家是自己的家，最重要的是自己觉得协调、美观即可。因此，最好是结合自家的装饰风格选择自己认为适合的装饰画。而不是随大路，别人挂什么自己也挂什么。同时，装饰画的组合也非常重要，挂画组合可以是：平行组合、垂直组合、梯形组合、对称组合、不对称组合等几种搭组合方式。
oil paintings
Refine Oil Painting Art Gallery is located in the center of oil painting, Xiamen city, we are mainly engaged in various styles and grades of handmade oil paintings , watercolor, giclee, portrait from photograph. All of our oil paintings are individually hand painted in our own studios by over 200 artists. Featuring good quality, professional service and competitive price,
We won a good reputation in the international markets such as Western Europe, North America, Middle East, Southeast Asia, etc
So pls contact us regarding to the oil painting, , watercolor, giclee, portrait from photograph. we will give you our best service!.
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We won a good reputation in the international markets such as Western Europe, North America, Middle East, Southeast Asia, etc
So pls contact us regarding to the oil painting, , watercolor, giclee, portrait from photograph. we will give you our best service!.
Keywords: oil painting, landscape oil painting, flower oil painting, peony, impressionist landscape painting, mountain-water, flower oil painter, Chinese oil painter, Chinese oil painting, contemporary painter, fine arts, artist, decorative painting, decorative painter, blue and green, blue-green painting, rice paper, Xiamen, Chinese landscape oil painting, China water and mountain painting, mountain-water, peony oil painting, flower oil painting, contemporary painter, fine arts, artist, decorative painting, decorative painter. peinture de fleure, flore, floral, peinture de pivoine, impressioniste, peintre, artiste, beaux arts, peinture décorative, peinture impressioniste chinois, china,art gallery,fine art gallery,galerie,arte galerie.
商业油画
商业插画是对作者的绘画风格和表现形式相对宽容的一个领域，客户需要风格与其产品气质相符的作品来传达产品的定位和文化等信息。每位作者都有自己的绘画风格和塑造角色特点，但是也需要根据不同的客户、产品创作作品，这个时候你会根据要求研究整理素材、选定合适的表现手法和工具，那么打开Corel Painter，油画(oil painting)、水彩（watercolor）、铅笔、蜡笔……多达34种的基本笔刷，而由这些基本笔刷衍生和自定义的笔刷过千种，可以说Painter已经将传统绘画和现代数字化图像的创作门类一一归于其中。
俄罗斯油画(oil painting)收藏在中国
俄罗斯广袤的疆域，横贯东西。其文化也是东西兼顾，形成独特的民族文化特色，俄罗斯的文学诗歌、建筑雕塑、音乐电影、艺术文化在世界上独树一帜，俄罗斯油画作为主要的艺术表现形式，也在世界上有着独特显明的俄罗斯艺术风貌。 俄罗斯油先后经历了18世纪古典画派、19世纪巡回画展画派、1898-1924的“艺术世界”团体、20世纪最初十年的先锋派、20世纪30年代以后的社会主义现实主义、20世纪60-70年代当代绘画艺术几个重要发展阶段。 俄罗斯油画从学习西方，到关注民族特色、关注社会现实、关注艺术语言的不断创新中逐渐形成具有自己民族特色的艺术风格，是世界艺术文化宝库的重要组成部分。 俄罗斯油画(oil painting)题材丰富，表现风格也如同古老的俄罗斯民族性格一样，沉雄大气、庄重威严、绚丽多姿、热烈奔放、诗情浪漫、晶莹灵动。俄罗斯油画对生命、对自然、对理想赋予极大的热情，不论我们欣赏人物肖像还是自然风景或静物写生，俄罗斯油画随时让人心灵能感到振奋，时刻让人精神抖擞，让人热爱充满活力的美好生活。以现实主义为主要内容的俄罗斯油画，是人类心灵向往健康力量的主要体现。 俄罗斯油画以生动的艺术感染力和近代新中国的特殊背景，深深影响了一代中国人，并且，在这代人心里也留下了浓浓的俄罗斯情结，应该说，中国和俄罗斯在近代历史文化中有着特殊的“兄弟”感情。中国对俄罗斯特殊的历史情结不仅仅在油画艺术上，还在文学、建筑、电影、音乐等艺术领域都有广泛影响，只要是一个20岁以上的中国人，无不知晓一到两个俄罗斯文学作品、俄罗斯音乐歌曲、英雄名人等，并且在我们中国人心里无不怀有一种亲切敬畏的感觉。这种情结对俄罗斯油画在中国的继续发展和收藏有着很好文化土壤。 俄罗斯油画直接对近代新中国油画的影响主要体现在油画表现题材、形式风格和美术教育体系上。可以说直接构建了新中国油画的形成。以社会主义为表现题材内容的社会主义现实主义直接是社会主义中国初期油画家们主要的学习对象，并且，前苏联和中国的友谊关系促使在当时各个领域派遣专家学者进行相互的学习交流，很多当今闻名中国艺术界的老一辈中国油画家，都是当时接受过前苏联著名艺术院校的培训学习和著名教授亲授培养出来的，如：靳尚谊、詹建俊、冯法祀、侯一民、俞云阶、全山石、肖峰等。俄罗斯的著名油画家也直接来中国开办学习班，直接在中国传授现实主义油画之道。如：1955年，马克西莫夫油画训练班，培训来自全国各地的青年教师和画家。这种教育教学体系曾为新中国美术培养了一代中坚力量。也成为当时中国各大美术院校主要学习的方向和方法。 近年来随着世界经济全球化的进程的加速，世界经济高速发展，艺术收藏和投资随经济繁荣而繁荣，艺术市场在中国，用“火爆”二字也不为过，俄罗斯油画的艺术价值和中国的特殊关系，使俄罗斯油画在中国收藏也慢慢开始升温。 在北京上海有好几家专门以代理俄罗斯油画为主的画廊，艺术拍卖行也是不断推广俄罗斯油画。在2004年12月，北京中诚信拍卖行举办的 “当代俄罗斯油画原作精品”拍卖会。当时，第一次登陆中国拍卖市场的俄罗斯油画成交率达到了65%。特别是前苏联功勋艺术家马克西莫夫的《齐白石老人》以35万元人民币落槌，《打春场——系列中国》以132万元人民币成交，创造了其个人作品在中国拍卖的最高成交记录。阿列史尼科夫的《艺术家肖像》也以100万元人民币成交。2005年北京翰海春拍推出10幅俄罗斯油画作品，其中列宾在1886年创作的《人物肖像》，估价80-100万元，成交价位176万元，这是俄罗斯油画在中国拍卖市场的最高成交价。2005年举行的第八届西湖艺术博览会上，俄罗斯列宾美术学院经纪人维克多卖掉了17幅俄罗斯油画，对自己的收获他感到非常满意。 俄罗斯油画收藏在中国逐渐显示出它的潜力，俄罗斯油画以其在世界艺术史上的地位和积极作用不应该低于其他艺术门类，绘画作品具有着浓厚的艺术底蕴，其学术价值之后的市场投资价值都应该在相对应的位子上。在中国的发展更应该是天地广阔，但由于政治、经济等多方面的原因，使目前俄罗斯油画市场潜力还没有得到更多收藏家的重视，市场也没有形成很好的流通渠道。俄罗斯油画收藏在中国还处在一个起步阶段，相比其他“天价”的艺术品而言，俄罗斯油画将还有很大的收藏投资空间潜力。 收藏俄罗斯油画要具备专业的鉴赏知识基础，对艺术收藏有自己专业理智的判断力。缺少理性、专业、正确的对艺术品进行赏析和收藏投资，而是另有企图，这是不成熟的更是可怕的。 艺术的多元不断丰富了这个多彩的艺术世界。但各种艺术文化在经济全球化的进程中开始面临更多的挑战，盲目顺从、推崇经济政治强国所谓的主流艺术文化，对艺术本质不加反思，忽略很多优秀的艺术文化，这些问题已经得到有识之士的关注和思考。艺术不是经济商业的直接产物，而是人类丰富的精神感受表达之结果。艺术本应就不存在高低贵贱之分，但随艺术品进入了拍卖市场，好像一切只能用不同的价格数字才能体现艺术品的价值，这种判断是一个严重的错误，其实当有人用价格数字来衡量一件艺术品价值开始，我认为那这个人已经被“忽悠”了。是被经济政治的强权意识形态“忽悠”了，还是被盲目跟风的炒作“忽悠”了，还是被虚伪无知标榜自己的自己“忽悠”了。俄罗斯油画现在在中国的艺术鉴藏情况就存在类似的一些问题。 俄罗斯油画目前在中国市场现状基本还是偏低，但总体趋势是在不断上升。除去些俄罗斯油画中“劣质行画”，目前的俄罗斯名家的作品，在市场上估价从几千至几十万不等。价格与同层次的西方画家，甚至中国画家相比，都非常低。过去十几年里，俄罗斯艺术品的价格上升了10到50倍。在近3年里，俄罗斯油画几乎每年涨一倍，尤其是大师精品。据说中国当代最著名的油画家之一的靳尚谊先生也收藏他的老师马克西莫夫的画，而老师作品的价格竟只是学生的几十分之一，这种价格上的不平衡落差可想而知。 另外，近年来在全国主要大城市成功举办了多次大规模的俄罗斯艺术展览，这也为俄罗斯油画在中国的继续发展起到很大的推动作用。如：1994年，在中国美术馆举办的《俄罗斯美术百年巡礼展》、２００１年的“俄罗斯绘画艺术３００年”、“俄罗斯现代油画展览”、２００２年的“俄罗斯当代经典油画展” 、2005年举办“列宾美术学院绘画作品全国巡回展” 、今年5月刚刚在北京中国美术馆举办的“俄罗斯300年经典油画”、上海城市规划馆举办的“太阳城——社会主义现实主义的辉煌”俄罗斯20世纪30－50年代艺术展等等。这些展览说明已经有人开始关注俄罗斯油画潜在的巨大价值。 最近在上海的中山公园里面，成立了一个国内首家专门以俄罗斯油画和雕塑为主的私人外国原创美术博物馆——依东外国原创美术博物馆，他们展品均出自俄罗斯艺术科学院院士、列宾美术学院教授及俄罗斯著名艺术家之手。他们常年定期举办俄罗斯油画(oil painting)雕塑的展览、研讨、推广、学习活动，不仅提升了俄罗斯油画鉴藏学术地位，无形中加深了民间艺术爱好者对俄罗斯艺术的认识，这也无疑是民间艺术组织对俄罗斯艺术热爱的最好回应。 伴随着俄罗斯经济政治地位在世界的影响力不断加大和“中俄文化年”的不断深入合作推广，同时，还有中国艺术市场的不断健全成熟，人们对艺术鉴藏的判断标准趋于科学，对俄罗斯油画的鉴藏也将会更加理性、专业，在人们对俄罗斯油画的艺术魅力价值和市场价值地位相对应协调的不断努力下，俄罗斯油画在中国这个特殊的环境里，收藏的春天将要再一次来到。 康文峰2006-6-16
Nov 3, 2007
Ivan Aivazovsky
Ivan Aivazovsky (1817-1900)
Ivan Konstantinovich Aivazovsky was born in the family of a merchant of Armenian origin in the town of Feodosia, Crimea. His parents were under strained circumstances and he spent his childhood in poverty. With the help of people who had noticed the talented youth, he entered the Simpheropol gymnasium, and then the St. Petersburg Academy of Arts, where he took the landscape painting course and was especially interested in marine landscapes. In the autumn of 1836 Aivazovsky presented 5 marine pictures to the Academic exhibition, which were highly appreciated. In 1837, Aivazovsky received the Major Gold Medal for Calm in the Gulf of Finland (1836) and The Great Roads at Kronstadt (1836), which allowed him to go on a long study trip abroad. However the artist first went to the Crimea to perfect himself in his chosen genre by painting the sea and views of Crimean coastal towns. During the period of 1840-1844 Aivazovsky, as a pensioner of the Academy of Arts, spent time in Italy, traveled to Germany, France, Spain, and Holland. He worked much and had many exhibitions, meeting everywhere with success. He painted a lot of marine landscapes, which became very popular in Italy: The Bay of Naples by Moonlight (1842), Seashore. Calm (1843), Malta. Valetto Harbour (1844). His works were highly appreciated by J.W.M. Turner, a prominent English landscape and marine painter. In the course of his work, Aivazovsky evolved his own method of depicting the motion of the sea – from memory, without preliminary sketches, limiting himself to rough pencil outlines. Aivazovsky’s phenomenal memory and romantic imagination allowed him to do all this with incomparable brilliance. The development of this new method reflected the spirit of the age, when the ever-increasing romantic tendencies put an artist's imagination to the front. When in 1844 the artist returned to St. Petersburg, he was awarded the title of Academician, and became attached to the General Naval Headquarters. This allowed him to travel much with Russian fleet expeditions on different missions; he visited Turkey, Greece, Egypt, America. From 1846 to 1848 he painted several canvases with naval warfare as the subject; the pictures portrayed historical battles of the Russian Fleet The Battle of Chesme (1848), The Battle in the Chios Channel (1848), Meeting of the Brig Mercury with the Russian Squadron... (1848). Towards the 1850s the romantic features in Aivazovsky’s work became increasingly pronounced. This can be seen quite clearly in one of his best and most famous paintings The Tenth Wave (1850) and also in Moonlit Night (1849), The Sea. Koktebel. (1853), Storm (1854) and others. The process, which determined the development of Russian art in the second half of the 19th century, also affected Aivazovsky. A new and consistently realistic tendency appeared in his work, although the romantic features still remained. The artist's greatest achievement of this period is The Black Sea (1881), a picture showing the nature of the sea, eternally alive, always in motion. Other important pictures of the late years are The Rainbow (1873), Shipwreck (1876), The Billow (1889), The Mary Caught in a Storm (1892). Aivazovsky left more than 6000 pictures, which are of very different value. There are masterpieces and there are very timid works. He failed to draw landscapes, could not draw a man. Aivazovsky got good commissions and became rich. He spent much money for charity, especially for his native town, he opened in Feodosia the first School of Arts (in 1865), then the Art Gallery (in 1889). He was a member of Academies of Stuttgart, Florence, Rome and Amsterdam.
Salvador Dali
Salvador Dali (Spanish Surrealist Painter, 1904-1989)
A flamboyant painter and sometime writer, sculptor and experimental film-maker, Salvador Dali was probably the greatest Surrealist artist, using bizarre dream imagery to create unforgettable and unmistakable landscapes of his inner world. His most famous work is The Persistence Of Memory.Dali often clashed with André Breton and other members of the "official" Surrealist circle over the content of his paintings and the right-wing views he sometimes espoused, and was kicked out of the group in 1934. Breton coined a brilliant anagram for Dali's name: Avida Dollars (which more or less translates to "Eager for Dollars"); Dali shot back, The only difference between me and the Surrealists is that I am a Surrealist.
A flamboyant painter and sometime writer, sculptor and experimental film-maker, Salvador Dali was probably the greatest Surrealist artist, using bizarre dream imagery to create unforgettable and unmistakable landscapes of his inner world. His most famous work is The Persistence Of Memory.Dali often clashed with André Breton and other members of the "official" Surrealist circle over the content of his paintings and the right-wing views he sometimes espoused, and was kicked out of the group in 1934. Breton coined a brilliant anagram for Dali's name: Avida Dollars (which more or less translates to "Eager for Dollars"); Dali shot back, The only difference between me and the Surrealists is that I am a Surrealist.
Pablo Picasso
Pablo Picasso (1881-1973)
Pablo Ruiz Picasso was born on October 25, 1881 to Don José Ruiz Blasco (1838-1939) and Doña Maria Picasso y Lopez (1855-1939). The family at the time resided in Málaga, Spain, where Don José, a painter himself, taught drawing at the local school of Fine Arts and Crafts. Pablo spent the first ten years of his life there. The family was far from rich, and when 2 other children were born -- Dolorès ("Lola") in 1884 and Concepción ("Conchita") in 1887 -- it was often difficult to make ends meet. When Don José was offered a better-paid job, he accepted it immediately, and the Picassos moved to the provincial capital of La Coruna, where they lived for the next four years. In 1892, Pablo entered the School of Fine Arts there, but it was mostly his father who taught him painting. By 1894 Pablo’s works were so well executed for a boy of his age that his father recognized Pablo’s amazing talent, and, handing Pablo his brush and palette, declared that he would never paint again. In 1895 Don José got a professorship at “La Lonja”, the School of Fine Arts in Barcelona, and the family settled there. Pablo passed the entrance examination in an advanced course in classical art and still life at the same school. He was better than senior students doing their final exam projects.
“Unlike in music, there are no child prodigies in painting. What people regard as premature genius is the genius of childhood. It gradually disappears as they get older. It is possible for such a child to become a real painter one day, perhaps even a great painter. But he would have to start right from the beginning. So far as I am concerned, I did not have that genius. My first drawings could never have been shown at an exhibition of children’s drawings. I lacked the clumsiness of a child, his naivety. I made academic drawings at the age of seven, the minute precision of which frightened me.” -- Picasso.
Pablo Ruiz Picasso was born on October 25, 1881 to Don José Ruiz Blasco (1838-1939) and Doña Maria Picasso y Lopez (1855-1939). The family at the time resided in Málaga, Spain, where Don José, a painter himself, taught drawing at the local school of Fine Arts and Crafts. Pablo spent the first ten years of his life there. The family was far from rich, and when 2 other children were born -- Dolorès ("Lola") in 1884 and Concepción ("Conchita") in 1887 -- it was often difficult to make ends meet. When Don José was offered a better-paid job, he accepted it immediately, and the Picassos moved to the provincial capital of La Coruna, where they lived for the next four years. In 1892, Pablo entered the School of Fine Arts there, but it was mostly his father who taught him painting. By 1894 Pablo’s works were so well executed for a boy of his age that his father recognized Pablo’s amazing talent, and, handing Pablo his brush and palette, declared that he would never paint again. In 1895 Don José got a professorship at “La Lonja”, the School of Fine Arts in Barcelona, and the family settled there. Pablo passed the entrance examination in an advanced course in classical art and still life at the same school. He was better than senior students doing their final exam projects.
“Unlike in music, there are no child prodigies in painting. What people regard as premature genius is the genius of childhood. It gradually disappears as they get older. It is possible for such a child to become a real painter one day, perhaps even a great painter. But he would have to start right from the beginning. So far as I am concerned, I did not have that genius. My first drawings could never have been shown at an exhibition of children’s drawings. I lacked the clumsiness of a child, his naivety. I made academic drawings at the age of seven, the minute precision of which frightened me.” -- Picasso.
Joan Miro(1893 - 1983)
Joan Miro(1893 - 1983)
Spanish painter, whose surrealist works, with their subject matter drawn from the realm of memory and imaginative fantasy, are some of the most original of the 20th century.Mir?was born April 20, 1893, in Barcelona and studied at the Barcelona School of Fine Arts and the Academia Gal? His work before 1920 shows wide-ranging influences, including the bright colors of the Fauves, the broken forms of cubism, and the powerful, flat two-dimensionality of Catalan folk art and Romanesque church frescoes of his native Spain. He moved to Paris in 1920, where, under the influence of surrealist poets and writers, he evolved his mature style. Mir?drew on memory, fantasy, and the irrational to create works of art that are visual analogues of surrealist poetry. These dreamlike visions, such as Harlequin's Carnival or Dutch Interior, often have a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. The forms of his paintings are organized against flat neutral backgrounds and are painted in a limited range of bright colors, especially blue, red, yellow, green, and black. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the canvas with seeming nonchalance. Mir?later produced highly generalized, ethereal works in which his organic forms and figures are reduced to abstract spots, lines, and bursts of colors.Mir?also experimented in a wide array of other media, devoting himself to etchings and lithographs for several years in the 1950s and also working in watercolor, pastel, collage, and paint on copper and masonite. His ceramic sculptures are especially notable, in particular his two large ceramic murals for the UNESCO building in Paris (Wall of the Moon and Wall of the Sun, 1957-59). Mir?died in Majorca, Spain, on December 25, 1983.
Spanish painter, whose surrealist works, with their subject matter drawn from the realm of memory and imaginative fantasy, are some of the most original of the 20th century.Mir?was born April 20, 1893, in Barcelona and studied at the Barcelona School of Fine Arts and the Academia Gal? His work before 1920 shows wide-ranging influences, including the bright colors of the Fauves, the broken forms of cubism, and the powerful, flat two-dimensionality of Catalan folk art and Romanesque church frescoes of his native Spain. He moved to Paris in 1920, where, under the influence of surrealist poets and writers, he evolved his mature style. Mir?drew on memory, fantasy, and the irrational to create works of art that are visual analogues of surrealist poetry. These dreamlike visions, such as Harlequin's Carnival or Dutch Interior, often have a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. The forms of his paintings are organized against flat neutral backgrounds and are painted in a limited range of bright colors, especially blue, red, yellow, green, and black. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the canvas with seeming nonchalance. Mir?later produced highly generalized, ethereal works in which his organic forms and figures are reduced to abstract spots, lines, and bursts of colors.Mir?also experimented in a wide array of other media, devoting himself to etchings and lithographs for several years in the 1950s and also working in watercolor, pastel, collage, and paint on copper and masonite. His ceramic sculptures are especially notable, in particular his two large ceramic murals for the UNESCO building in Paris (Wall of the Moon and Wall of the Sun, 1957-59). Mir?died in Majorca, Spain, on December 25, 1983.
Van Gogh, Eternal Van Gogh
Van Gogh (1853-1890) is one of the three representatives of Post Impressionism. (The two other representatives are Paul Cezanne and Paul Gauguin). Though being affected by Impressionism (May also being included into this broader category), Post Impressionism painters pay more attention into painter's feeling, imaging and enthusiasm in their paintings.
Vincent Van Gogh's life and work are so intertwined that it is hardly possible to see his pictures without reading in them the story of his life: a life which has been, described so many times that it is by now the stuff of legend. Van Gogh is the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider.
In his tragedy and poverty life, he only sold one painting of all his works. But after his death his painting repeatedly creates new high record in modern auction market (including his famous Sunflower, Irises, Doctor Gacher). I like his Sunflower best, from which I saw Gogh's thirsty for sunshine and life.
Sometimes we always comment a man's success on his glory before his death. Van Gogh's glory and being respected after his death tells us courage to attempt is more important than success or failure in life.
Vincent Van Gogh's life and work are so intertwined that it is hardly possible to see his pictures without reading in them the story of his life: a life which has been, described so many times that it is by now the stuff of legend. Van Gogh is the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider.
In his tragedy and poverty life, he only sold one painting of all his works. But after his death his painting repeatedly creates new high record in modern auction market (including his famous Sunflower, Irises, Doctor Gacher). I like his Sunflower best, from which I saw Gogh's thirsty for sunshine and life.
Sometimes we always comment a man's success on his glory before his death. Van Gogh's glory and being respected after his death tells us courage to attempt is more important than success or failure in life.
oil painting reproduction wholesale from china
oil painting reproduction wholesale from china
Refine Oil Painting Art Gallery is a Chinese wholesale export art gallery specialized in oil painting reproduction, copies of masterpiecec, giclee print , fine portrait painting and watercolor. With many years in this line, we have many clinets in worldwide and have established good business relation each other. As a direct distribute gallery in Wushipu Oil Painting Village of Xiamen,China and based on more than 200 professional artists and painter here, we can provide our clintes very high quality oil paintings with more competitive price. The styles you can choice are as followed:
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Water country
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