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[img]2018m9s/ct_etoefz_etoeflistz_201808_0018[/img] [br] What is the lecture mai
[img]2018m9s/ct_etoefz_etoeflistz_201808_0018[/img] [br] What is the lecture mai
游客
2025-02-05
20
管理
问题
[br] What is the lecture mainly about?
Listen to part of a lecture in a Studio Art class.
Professor: Today we’re going to continue with oil painting, but in different styles you haven’t experienced. From now on, we’re going to learn about several different techniques. Let’s begin with impasto.
Basically, impasto is a thick application of pigment that makes no attempt to look smooth. Instead, brush and palette knife marks are visible on the finished painting. In general, when you work with oil, what you do is just apply one color over another and let the paint squish onto the canvas. And the painting surface remains quite flat. With impasto however, it mostly involves loading up your brush or painter’s knife with more paint than you’d normally need. Then the three-dimensional paint appears to be coming out of the canvas. It’s sort of like... icing that covers a cake. Actually, when I saw a series of paintings done this way, they were so convincing they looked good enough to eat.
Anyway, one purpose of impasto is to make a light reflection. Since the 15th century, impasto has initially been used. Artists controlled the play of light creating a lot of visual space. The shadows underneath the paint showed folds in clothes and jewels their subjects wore. Impasto really highlighted these features. But later, another effect of impasto was its ability to convey movement in the painting. And when you work with the technique, you should keep this in mind that the thicker the paint is, the more it gives physical movement. Let me raise Van Gogh as an example.
Van Gogh, one of the post-impressionists during the 19th century, first used impasto for its expressive qualities. Look up at the screen here, and notice how the cypress trees and valleys are depicted by the thick texture. In this way, Van Gogh gave weight to the movement to his sky and landscape. You can almost feel the breeze on that day. Today’s painters use impasto for a different reason, Most current artists place more emphasis on the painting’s surface, its texture on their art work than the display of colors and lines. Impasto allows them to blend the texture and feeling of an object without illustrating an actual perception of what they represent.
So, how can you create this texture? It depends on the way you apply the paint on canvas. As I said earlier, instead of "dying" or "scrubbing" the canvas with small amounts of color, just let the paint squish onto the canvas and sit there. You will need to apply a massive amount of paint with any tools you find that gives the texture you want, tools like a brush, a flexible palette knife, or even a toothbrush. After that, you mold or sculpt the paint with short brushstrokes, faster. You should be spontaneous, and dynamic just like Van Gogh.
选项
A、Reasons why the impasto texture remains experimental
B、Changes over time in the way impasto characteristics are created
C、The different skills between impasto and oil painting
D、The effects of impasto techniques that artists can achieve
答案
D
解析
内容主旨题。线索词为we’re going to learn about,教授在讲座的开端部分即表达打算介绍几类特别的油画技巧,并表示:we’re going to learn about several different techniques.Let’s begin with impasto.且后文教授从风格特点、表达效果、绘画方式多个部分对impasto进行介绍,因此D选项为正确答案。教授虽把普通油画和impasto的颜料使用进行对比,但目的是为了说明impasto的特点,也就是讲座主题是介绍impasto,因此C选项不正确。通过教授的介绍可以得知,当今画家还在使用impasto这种绘画手法,也就是说它是被画家所认可和接受的,并非还在实验中,因此A选项不正确。
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