Zhang jie's early oil painting creation,chose objects related to real life

Zhang jie's early oil painting creation,chose objects related to real life
He depicting the daily life, with great concentration in the language of art forms, the minority characters works, absorb the language characteristics of the vernacular painting, the whole picture scattered, with a faint hazy light diffuse light homesickness. This is what the Chinese artists pursue a kind of spirit, it requires that oil painting reproductions artists will art theme of the same kind of full of the milk of human kindness and humanitarian ideals, and in the performance of the artistic language form explore some new possibilities. Zhang jie in the paintings of the humane care is not only present in the specific characters and scene, and more manifested in the author's skilled techniques. Dry peeling from the picture, the brush strokes, big contrast, deliberately create can be seen in the light of his profound academic background and the study of the traditional painting language. Obviously these early works on nostalgia or amorous feelings, in terms of ideological content, or surface or purely visual.
Zhang jie's paintings have been focus on skin texture effect, especially in the late creation, his extensive use of scraper, canvas heavy color, let skin texture unification on the basis of the whole picture. Kept jumping in his paintings flickering light spot, this makes the form is complicated, the composition is full of images produced a flashing light feeling, make the picture becomes clear and transparent. Such as the "shadow", which he wrote in 1997, is a revelation of the war, implicitly wholesale oil painting revealed the horrors of war and harm; Those such as missile black shadow whizzing collected from the picture, a naked has put her on his back seems to be groaned in pain. Thick paint along his peeling, dry brush strokes on the canvas to create ominous and tense atmosphere, the flickering light seemed to be a strong light when the bomb exploded, a woman's body, don't give a pale and loneliness of the end of the world. Missile in women end up the shadow is a metaphor for the suffered war scare of human psychology, show the people suffered from the touch of the bombing, at the same time also alluding to the human survival anxiety.
For zhang jie, the painting is not only a composition, space, and stroke, more important is colour. He prefers to use grey to unified picture, almost every picture has a green gray, brown, gray. Color changes in temperature between the contrast is not very strong, but very careful, pay attention to detail the effects of processing: such as the handling of the brush strokes, cause the whole picture in the form of a complex feeling; Scraper with randomness and composition of the stress produced on the contrast, flickering light makes the dignified image of loose again. His color space is no longer a static shape means of image, but in an attempt to destroy a complex emotions of the space, is the rational thinking of emotional expression. Because of this, he was in dealing with the relationship between background and foreground, abandoned the traditional painting strict space perspective, to shape the form without pure gradient of light and shade, but it was the use of color difference, unified brushwork texture and foreground and background becomes ambiguous, so his paintings tend to flatten, and possess certain adornment effect. As in his early writing "the human" (1992), "pulse" (1994), "coexistence" (1995), "the voice of the mountain" (1997), etc., are a common feature
and ancient rare books on various kinds of oil painting special all clap, plus have ended the auction earlier oil paintings stamps, COINS, bronze oil painting mirror, Gardner 2009 spring total art turnover art of more art than 541  million art yuan