This painting was created in 2020, the year I just graduated from college and was in a period of transition. The subject matter and style of painting continued from my college days.
The reference pictures for the series "Urban scene in architecture" all come from selfies taken by several of my friends. My friends and I met in the early days of "urban construction," and when I painted them, they were all hastily building themselves along with the urbanization process. This is the era I live in and the path that our peers in the same situation must take.
Inches: x in
Size without the frame: x cm
Country: China
Date: 2023
Materials: Oil paint on linen
Condition: well preserved
Creative themes and style | My works revolve around the creative concept of "The land of humanity, People on the land". The people in the painting are people in nature, and the lines, shapes, and colors are close to nature. The nature in the painting is nature in the eyes of humans, existing in interaction with humans.I don’t pursue a series of works with a fixed and continuous style. I hope that the style of the pictures will synchronize with the changes in my life and always remain oscillating. The performance of the work must be in sync with the development of one's own life in order to be Sincere and powerful. Ideas are later.
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In terms of content, the flowing texture of the hair strands is presented through color layers and changes in brushstrokes. The fold details of the dark clothing conform to the human body shape, enhancing the sense of reality. The composition follows the convention of portrait painting yet has breakthroughs. The figure occupies the center of the picture, and the tilted angle of the head breaks the symmetry, creating dynamic tension and guiding the viewers’ eyes to focus on the emotional expression of the face. The color application is subjective and harmonious.
The light gray tone of the background interweaves with colors like blue, brown, and gold in the hair. The dark color of the clothing is calm and heavy, while the skin tone of the face reveals a soft warmth within the gray tone. By means of differences in color temperature and brightness, it shapes a sense of three - dimensionality and space. The painting style leans towards expressive realism. It not only retains the capture of figure features in realism but also conveys the creator’s subjective feelings with free and bold brushstrokes (such as the color stacking in the hair area). It doesn’t pursue absolute realism but strengthens the painterliness. The emotional expression is implicit and profound.
The figure’s eyes look to one side of the picture, as if there are extending thoughts. The subtle facial expressions and postures convey a quiet and slightly contemplative emotion, triggering the viewers’ exploration of the inner world of the person in the painting. Similar artists can be associated with Lucian Freud. The exploration of the spiritual state of figures and the expressiveness of brushstrokes in his portraits have common ground with this painting. It can also be compared to contemporary portrait painters like Yu Hong, who incorporate subjective colors and emotions on the basis of realism. With a solid foundation in realistic skills, this painting, through the artistic treatment of colors and brushstrokes, elevates the individual portrait into a carrier of emotions and spirits, allowing viewers to feel the warmth and power of painting in the details.
The work enlarges the face to dominate the canvas, almost erasing the background, so that the viewer directly confronts the subject’s expressions and subtle textures. This close-up viewpoint heightens the sense of psychological confrontation between subject and viewer.
The artist deliberately uses bold, directional brushstrokes instead of fine realism when depicting the hair. By abstracting the strands into color blocks and curves, the work preserves a sense of texture while introducing a free, expressionist energy.
The cool gray-blue palette creates a restrained, contemplative atmosphere, distancing the work from decorative sweetness. Such contemporary portraits are especially suited to studies, gallery spaces, or modern interiors, where they act as visual anchors for reflection and introspection.
Unlike direct eye contact in conventional portraits, the figure here turns the eyes away ever so slightly, creating a psychological tension of hesitation or withheld emotion. This subtle avoidance leaves the viewer in suspense, prolonging engagement with the painting.
The close-up composition intensifies emotional immediacy while reducing narrative distraction, allowing for broader interpretation. In today’s art market—where new realism merges with expressionism—such works showcase distinctive artistic individuality and carry strong collecting potential due to their striking visual tension.
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