Chen Hongbiao | wen
After painting the human body for 51 years, dare to risk painting fat women, despite criticism and relying on three tricks to reverse ugliness for beauty!
▲The picture shows a Western realistic human body oil painting (partial).
<h1 class="pgc-h-arrow-right" data-track="4" >1. Is there such an ugly female model in the world? </h1>
Looking at the body oil paintings of the painter Liu Baojun, the first question is given: Where did he find such an ugly model?
The second question: Is there such an ugly woman in today's world where internet celebrity faces are full of streets? Isn't that a survivor?
Looking more closely, this problem does not exist at all, because the characters in this painting are not only ugly, but also super fat, looking at the surroundings, and even the world, there is only one possibility to be fat to this extent in the painting, that is, to cross to the era of fat as beauty in the prosperous era of the Tang Dynasty.
▲The picture shows a realistic human body oil painting (partial).
The most puzzling thing is why a good woman is holding a pipe and doing so. This is simply not a group living in the present.
Indeed, the theme of the work also confirms once again that the problem of this model does not exist. That is to say, the painter Liu Baojun did not look for a model at all, he painted the "women who smoked pipes" who once lived in "old Shanghai".
▲ Xie Chuyu's human body painting "Sun Rain" (partial).
The model is a fake model, not a real person, at most it is a reference to the old Shanghai calligraphy and painting newspaper materials, and it is greatly exaggerated, only the pipe is realistic, it should have existed in the world.
<h1 class="pgc-h-arrow-right" data-track="39" >2, painted the human body for 51 years, dared to take the risk of painting fat women</h1>
In addition to the prosperous era of the Tang Dynasty, the aesthetics of women in all dynasties have stayed in handsome faces, slender figures, so-called cherry small mouths, sinking fish and falling geese, closed moon shy flowers and the like.
▲Part of Yang Feiyun's oil painting "Landscape and Water".
The painter's creation of human portraits naturally follows this traditional aesthetic, so the selection of models is naturally not a pure beauty, or a recognized beautiful star. The picture presented is either a beautiful person, a graceful goddess, or a fairy who does not eat fireworks in the world.
▲The picture shows Liu Baojun's oil paintings.
Liu Baojun, known as the most representative painter of contemporary China, has been painting for 51 years, painting the human body has been doing the opposite, either squashing the head shape of the characters, or letting the characters under the pen all become fat women who are plump and fat to the point of not talking, not only have no physical beauty, but also have no beautiful and lovely faces, and a fat head and big ears. It gives people a strong sense of oppression and oppression, and even some visual discomfort.
Dare to do so in opposition to the traditional aesthetics of the public, to take ugliness as beauty, naturally there is a spirit of daring to take risks.
This kind of adventurous work will naturally become a particularly dazzling alternative, fortunately, at least the style is distinct, and when you look at the painting, you know that it is his Liu Baojun painting, and there is no second person.
<h1 class="pgc-h-arrow-right" data-track="40" >3, despite criticism, rely on three tricks to oppose ugliness</h1>
These fat-looking human bodies, many netizens feel that this is not body art, or even waste art, because people can not feel the beauty, only ugly, ugly.
Some netizens will even attack his works on the Internet, saying, "The women in the paintings are not sexy at all, and the images created are completely devoid of the shadow of classical beauty."
At the same time, he also accused "the background in the painting is simple and uniform, and there are not too many painting techniques used", etc., in short, how to look at how unpleasant.
Liu Baojun ignored the voices of various criticisms. Because this is really a misunderstanding of him and the work.
For creation, Liu Baojun is not only very serious, but also has a sincere mentality. The exceptionally smooth skin presented in the work is the result of the delicate brushstrokes depicted, and the elegant picture effect is also the result of his careful choice of warm and advanced color.
He does not reflect too many details on the background, but this is also a requirement of the layout of the picture, which lies in setting off the main body.
Although this kind of beauty that is not recognized by the world, and even thinks that it is ugly, has brought Liu Baojun a lot of critical voices, it can be found that Liu Baojun's adventurous spirit and efforts to find another way through his own perspective, and these works are impressive.
In fact, Liu Baojun also knows the dilemma he has to face, so he uses three tricks in his creation, trying to reverse the situation and make the work achieve the effect of anti-ugliness and beauty.
The first trick, in the classical oil painting realistic techniques and contemporary techniques between the wandering, so that the fat woman in the deformation and abstraction of the degree of relaxation, whether sitting and lying down, or lying on the pillow arm, the character modeling has a modern sense of abstraction, the form is rich and vivid, showing the characteristics of the old Shanghai women, both dignified and elegant, but also with a lazy, leisurely, with a rich demeanor to cover the ugliness of the human body.
The second trick, no matter whether the character is tall, fat and thin, let each character have an eye-catching place, that is, the moment of spitting out clouds, through the shape of the mouth, the shape of the smoke, and the intoxicated expression on the face, to reflect the woman's funny cuteness and idyllic beauty, dilute the fat body shape of the character, and strengthen the inner needs and story of the characters.
The third trick depicts the vivid body language of the characters between the hands and feet, and through the use of light and shadow, the picture effect is extremely textured. With the help of traditional aesthetic tastes, it expresses a warm and lazy beauty, and integrates into modern art, so that the works are full of sensuality and vitality in addition to warm and classical.
Through these three moves, Liu Baojun reversed qiankun and anti-ugliness into beauty, and found great beauty in ugliness, thus forming a dedicated personal language symbol style. This unique and delicate painting style formed by his unique path has made "women smoking pipes in old Shanghai" the hottest works in the art market.
▲The picture shows Liu Baojun.
What do you think about that? Comments are welcome.
This article is the original of [Chen Hongbiao's Writing and Painting], written by Chen Hongbiao, a member of the Chinese Writers Association, a biographer, and a critic of calligraphy and painting, and has published 16 personal works, and his representative works include the long biography "Xu Mangyao's Oil Painting World", etc. The pictures in the text come from the Internet.