What are the schools of Western oil painting? What are the representative figures?

The development process of oil painting has gone through several periods, including classical, modern and contemporary, and the oil paintings of different periods were governed by the artistic ideas and techniques of the times, and presented different outlooks. The historical conditions at the early stage of the development of oil painting laid down the realistic tendency of classical oil painting, and in the European Renaissance movement in the 15th century, the humanist ideology, out of the criticism of religion, had a positive demand to pay attention to the social reality, and many famous painters, in order to gradually get rid of the creation of a single Christian classic as the theme, began to observe and directly depict the characters, landscapes, and objects of the life at that time, so that the works with religious themes were more realistic and secular, with obvious real secular factors. Some painters depicted the realities of real life in their works. Renaissance painters inherited the artistic concepts of Greece and Rome, that is, they not only focused on describing an event or fact, but also on revealing the causes and consequences of the event or fact, and thus formed the artistic technique of focusing on the conception of typical plots and the shaping of typical images. At the same time, painters also explored the use of anatomy, perspective in painting, the role of light and dark distribution in the picture, forming the scientific principles of modeling. The use of human anatomy makes the figures in paintings have accurate proportions, shapes and structural relationships as if they were real; the establishment of focal point perspective makes it possible for paintings to form an illusionary depth of space through composition, and the scenes in the paintings have the same instantaneous visual feeling as those oriented in reality; the chiaroscuro method makes the objects in the paintings unify in the light emitted from one main light source, forming a clear hierarchy of nearness and distance. The artistic theme of humanism and the concept of realistic modeling cannot be perfected in other kinds of paintings because of the limitation of tools and materials, while the performance of oil painting tools and materials is suitable for fully realizing both. As a result, classical oil painting becomes a highly realistic appearance produced over a long period of time. Classical oil painting as a whole is the result of the comprehensive application of all factors of the oil painting language***, but artists of different countries and periods paid special attention to one or several factors on the basis of which different styles were formed. Italian painters of the Renaissance era paid more attention to the use of chiaroscuro, in which the dark parts of the scene were uniformly covered in shadows, and the line between light and dark showed a soft transition, creating a concentrated and natural effect in the picture; L. da Vinci's Madonna of the Rocks is a representative of this style. The Netherlandish painters of the same period were clear in the details of their paintings, with color differences rather than transitions between light and dark. R. Campin's trilobal altarpiece, "Informing of the Fertility," presents all the interior and exterior scenes in great detail. The Italian Titian was the first painter who paid special attention to color expression in oil paintings. He painted on a dark background and often used bright colors with close brightness and slightly different hues to form a rich golden tone, while the repeated overlapping of transparent pigments and the brushwork of thick and thin brushstrokes made the colors organically dissolve with the forms and created textural effects. The 17th century was a period of rapid development of classical oil painting in Europe, and painters from different regions and countries carried out different in-depth explorations in the language of oil painting according to their own social backgrounds and national temperaments. The types of oil paintings were categorized according to their subjects as historical paintings, religious story paintings, portraits of groups, personal portraits, landscapes, still lifes, and customary paintings. The techniques of oil painting have also become more and more abundant, and schools of painting have been formed in various countries and regions.2) The earliest appearance of oil painting in China was in the coffins and coffins, and according to the Zhou rituals, the Book of Han, and other documents, more than 2,000 years ago, there was already a history of painting in China with "oil". The usual saying is that in 1581 Matteo Ricci with the Lord, the Virgin Mary to China, only after the beginning of the Chinese oil painting, one of the "wooden beauty" works, although five hundred years, can still be seen vaguely the painting style of the ancient and heavy. Kangxi years, missionaries Lang Shining, Pan Tingzhang, Ai Qimeng and other paintings for the inner court, thus bringing the Western oil painting techniques into the palace; Yongzheng, Qianlong years, the court of the package of clothing (Manchu that is, the slaves) was commissioned by the emperor, to the missionaries to learn oil painting, but did not leave some traces. To 1840, the outbreak of the Opium War, the Chinese and Western culture collision, the folk painting workshop, painting gallery rose, painting skills have been improved. However, at this time, due to the low status of the painters and their limited cultural literacy, their works were not able to enter the high level of culture and form an independent new culture. At the end of the Qing Dynasty, after the Restoration and Reform, many young students went to England, France, Japan and other countries to study Western oil painting, among them were: Li Tiefu, Feng Gangbai, Li Yishi, Li Shutong (Hongyi Venerable Master), Lin Fengmian, Xu Beihong, Liu Haisu, Yan Wenliang, Pan Yuliang, Pang Lavender, Chang Shuhong, Wu Dayu, Tang Yiho, Chen Tuoyi, Guanliang, Wang Yuezhi, Weitian Lin, Xu Xingzhi, Ni Yide, Ting Yanyong, etc. After returning home, these people brought with them Western painting skills and brought with them a new culture, and formed an independent new culture. After returning to China, these people brought with them advanced teaching methods and concepts from the West and Japan. For example, in 1911, Zhou Xiang, who had returned to China from the West, founded China's first art school; in 1912, Liu Haisu founded the Shanghai Academy of Painting and Drawing and for the first time used mannequins to draw sketches; and in 1919, Mr. Cai Yuanpei, who had been appointed as the chief education officer, initiated the opening of the first national art school, the Beijing Fine Arts School, (with the principal, Lin Fengmian); In 1927, the Central University opened an art department (Xu Beihong was the director); in 1928, Hangzhou founded the first university system of national art schools (Lin Fengmian was the dean) and so on. The three main schools of painting in this period were: the Realistic School (Xu Beihong); the New School (Lin Fengmian and Liu Haisu); and the Modern School (Eileen Pang). During this period of time, China was in the midst of war, and there was no stable social environment, so the oil painters were displaced. In the face of the national crisis, many oil painters used painting as a weapon to reflect the war and expose the tyranny, such as Wang Shikou's The Great Bloody Battle of Taierzhuang, Tang Yiho's Victory and Peace, and Situ Qiao's Lay Down Your Whip, etc. Some painters traveled to the Northwest China due to the war. Some painters went to the northwest, southwest and other ethnic minority areas because of the war, and created works such as "Negative Water Woman" (Wu Zuoren). Kazakh Shepherdess (Dong Xiwen) and other masterpieces.