本文關(guān)鍵詞： 藝術(shù)特色 題材 手法 情感 藝術(shù)精神　出處：《陜西師范大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：潘玉良早年留學(xué)法國(guó)、意大利,是我國(guó)二十世紀(jì)二三十年代著名的畫家。她多次在上海、南京舉辦個(gè)展、聯(lián)展,活躍在國(guó)內(nèi)畫壇,在當(dāng)時(shí)有一定影響。1937年,潘玉良悄然淡出中國(guó)藝術(shù)圈,寄居法國(guó),盡管她離開了中國(guó),但并未停止對(duì)藝術(shù)的探索,在長(zhǎng)達(dá)四十年間,她孑身一人,傾心鉆研,在藝術(shù)的道路上越走越遠(yuǎn),藝術(shù)風(fēng)格幾經(jīng)轉(zhuǎn)變,從起初以寫實(shí)油畫為主到把中國(guó)傳統(tǒng)繪畫中的線、構(gòu)圖法則融入油畫,再到后來的把西方繪畫造型方法、背景處理方法、西畫色彩引入中國(guó)傳統(tǒng)繪畫。在國(guó)外寄居期間,她的作品多次參加法國(guó)藝術(shù)沙龍、畫廊展覽及在歐洲其它國(guó)家舉辦個(gè)展,碩果累累,有多件作品被國(guó)外重要機(jī)構(gòu)收藏,在我國(guó)早期畫家中,有如此成就者并不多見。雖然潘玉良在國(guó)內(nèi)畫壇的時(shí)間較短,在中國(guó)的影響并不長(zhǎng),1984年,隨著多方努力,潘玉良的絕大部分遺作被運(yùn)送回國(guó),收藏于安徽博物館。自1985年起,潘玉良的作品展吸引著人們的目光,她的藝術(shù)精神和作品價(jià)值成為了人們關(guān)注的一個(gè)焦點(diǎn)。 在當(dāng)代,涌現(xiàn)了各種藝術(shù)流派、藝術(shù)觀念,人們對(duì)藝術(shù)的認(rèn)識(shí)角度、深度都有所擴(kuò)充,如何在網(wǎng)絡(luò)時(shí)代,在人們的相互了解、交流更加便利,不同民族、文化的融合更加緊密的情況下認(rèn)識(shí)藝術(shù)的本質(zhì),這是我們目前所面臨的一個(gè)問題。潘玉良的人生經(jīng)歷、作品特色、風(fēng)格轉(zhuǎn)變過程、藝術(shù)價(jià)值對(duì)我們?nèi)绾芜\(yùn)用中西藝術(shù)造型元素,調(diào)和中西藝術(shù),油畫的民族化表現(xiàn)及藝術(shù)創(chuàng)作都有非常重要的現(xiàn)實(shí)意義。 本文主要從潘玉良的作品入手,結(jié)合潘玉良的人生經(jīng)歷來分析作品的特色,包括影響她作品特色的主要因素、潘玉良作品的題材內(nèi)容、表現(xiàn)手法、作品對(duì)當(dāng)代藝術(shù)的啟示、旨在使人們對(duì)潘玉良的作品有一個(gè)較為全面、整體的認(rèn)識(shí),使人能從中感受到潘玉良作品的藝術(shù)風(fēng)格從前到后的轉(zhuǎn)變是循序漸進(jìn)、一脈相承的。潘玉良的藝術(shù)一直受到情感的影響,或者說是情感的外在表現(xiàn),情由心生,筆隨情走,而精神情感恰恰是藝術(shù)作品的原生動(dòng)力,可以說人類的美術(shù)史實(shí)際上就是人類的精神史。本文通過詳實(shí)可靠的材料,在詮釋潘玉良作品的同時(shí),挖掘其作品的精神內(nèi)涵,使它們互為因果,使人能更加了解潘玉良、了解她的作品及其藝術(shù)價(jià)值,并總結(jié)潘玉良的作品對(duì)當(dāng)代藝術(shù)發(fā)展的影響和啟示。
[Abstract]:Pan Yuliang studied in France and Italy in her early years. She was a famous painter in the 1920s and 1930s in China. She held solo exhibitions and joint exhibitions in Shanghai and Nanjing many times. She was active in the domestic painting world and had a certain influence at that time. In 1937, Pan Yuliang quietly faded out of the circle of Chinese art and settled in France. Although she left China, she did not stop her exploration of art. For 40 years, she was alone, devoted to the study of art, and went further and further on the road of art. The artistic style has changed several times. From the beginning, it mainly focused on realistic oil painting, then incorporated the line and composition principle of traditional Chinese painting into the oil painting, and then, later, it took the Western painting modeling method and the background processing method. During her stay abroad, she participated in many French art salons, gallery exhibitions and solo exhibitions in other European countries. Among the early painters in China, such achievements were rare. Although Pan Yuliang had a relatively short time in the domestic painting world, his influence in China was not long. In 1984, with various efforts, most of Pan Yuliang's works were transported back to China. Collected in Anhui Museum, since 1985, Pan Yuliang's works exhibition has attracted people's attention, her artistic spirit and work value have become a focus of attention. In the contemporary era, a variety of art schools, artistic ideas, people's understanding of art, depth have been expanded, how in the Internet era, in the people's mutual understanding, exchange more convenient, different nationalities, Understanding the essence of art in the context of closer cultural integration is a problem we are now facing. Pan Yuliang's life experience, work characteristics, changing process of style, and artistic value are how we use Chinese and Western artistic modeling elements. To reconcile Chinese and western art, the nationalization of oil painting and artistic creation are of great practical significance. This article mainly starts from Pan Yuliang's works, combines Pan Yuliang's life experience to analyze the characteristics of her works, including the main factors that influence the characteristics of her works, the subject matter content, the expression technique, the inspiration of the works to the contemporary art. The aim is to make people have a more comprehensive and overall understanding of Pan Yuliang's works, so that people can feel that the artistic style of Pan Yuliang's works has changed step by step from the past to the later. The art of Pan Yuliang has always been influenced by emotion, or the external expression of emotion. The emotion is born from the heart and the pen follows the emotion, and the spiritual emotion is exactly the primary motive force of the art works. It can be said that the history of human art is actually the spiritual history of human beings. This article, through detailed and reliable materials, excavates the spiritual connotation of Pan Yuliang's works, makes them cause and effect each other, and enables people to understand Pan Yuliang better. Understand her works and their artistic value, and summarize the influence and inspiration of Pan Yuliang's works on the development of contemporary art.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J205

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 燕家琪;;潘玉良筆下的女性形象[J];美術(shù)界;2012年09期

相關(guān)碩士學(xué)位論文 前2條

1 張丹萍;林達(dá)川繪畫藝術(shù)研究[D];浙江理工大學(xué);2013年

2 姜瑩瑩;潘玉良與弗里達(dá)·卡洛繪畫語(yǔ)言比較研究[D];延邊大學(xué);2013年

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本文編號(hào)：1520518