Internal light and external light

From the existing historical records, it can be seen that since the ancient Greek painter Apollodorus skiagragos in the fifth century B.C. perfected the method of light and shade, Western painting has been maintaining the overall appearance of shaping the body and depicting the truth with light and shade for more than 2000 years. Although different schools of painting in different periods have their own unique styles, the overall appearance of Western painting is consistent. The Renaissance in Europe and more than two hundred years later made western painting reach an insurmountable peak. Generations of masters pursued the light in their hearts and promoted the development of sacred art. In the 18th and 19th centuries, the great achievements of Jacques Louis David and Jean Auguste Dominique Ingres were also deterred. Whether in terms of materials or techniques, the possibility of surpassing the predecessors has become very small. At this time, Impressionism, which had a different path, stepped onto the stage of history.

If what the painter seeks in the traditional painting is to express the inner light and constant will, then the Impressionists put the light outside. Impressionists emphasize that the real world exists in the observation of the eyes, only color and light, and do not care about the substance of the object. Therefore, they broke the centuries old tradition of depicting reality in European paintings and turned to the representation of sensory intake, which was not to draw what was seen as it was, but to exaggerate the feelings of light and shadow. Because impressionism focuses on expressing the light and shadow that the painter feels, they often ignore the shape and outline of the object image. Under the influence of this style, the painters gradually ignored the most basic skills of becoming a painter, that is, the rigorous modeling ability and the corresponding professional knowledge of material techniques.