本文關(guān)鍵詞： 油畫風(fēng)景寫生 色彩 情感語言 表現(xiàn)力　出處：《廣西師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：色彩作為油畫藝術(shù)的重要語言因素,是油畫藝術(shù)不可規(guī)避的課題。色彩語言在油畫創(chuàng)作的過程中體現(xiàn)出強(qiáng)烈而獨(dú)特的表現(xiàn)力,色彩語言的表現(xiàn)規(guī)律可謂油畫的核心。它還是藝術(shù)家主體表現(xiàn)個(gè)性風(fēng)格和精神外化的關(guān)鍵環(huán)節(jié),重要因素。與簡單的公式不同的是,藝術(shù)家要想形成自己獨(dú)特的色彩語言不僅要正確認(rèn)識色彩規(guī)律,更要熟悉掌握和靈活運(yùn)用藝術(shù)法則。 語言作為一種工具通過不同的形式來傳遞各式樣的信息,實(shí)現(xiàn)人與人之間的溝通與交流。而色彩可以說是油畫藝術(shù)的一種可視性的“語言”,是藝術(shù)家按照客觀世界,抒發(fā)情感的物化載體,起到一個(gè)解釋說明的作用,全世界不同國度、民族間理解起來似乎都沒有嚴(yán)格的“語言”界限。對油畫色彩語言的深入研究與探索是永無止境的。色彩語言的作用不僅僅能夠表現(xiàn)出不同情緒的變化特質(zhì),還是能表現(xiàn)出藝術(shù)家內(nèi)在精神媒介的語言。要想掌握油畫創(chuàng)作的基本技能,就一定要先對色彩語言有所認(rèn)識。我們不能單純的僅從色彩的角度探究色彩語言,那樣難免有些牽強(qiáng),難免有些以偏概全了。 本文擬用五章來論述油畫風(fēng)景寫生中色彩的表現(xiàn)力與情感語言。第一章回顧分析了色彩運(yùn)用在油畫風(fēng)景中的發(fā)展歷程。第二章是色彩運(yùn)用在油畫風(fēng)景中的特點(diǎn)。本章按時(shí)間順序選取了不同時(shí)期獨(dú)具代表性的畫派(巴比松派——印象派——后印象派——現(xiàn)代派),并結(jié)合各畫派的代表畫家的代表作結(jié)合闡述：巴比松畫派——還原自然與原始的質(zhì)樸色彩構(gòu)成第一部分；第二部分是印象派——記錄光與影的瞬息色彩；后印象派——賦予內(nèi)心與情感的夸張色彩為本章的第三部分；第四部分為現(xiàn)代派——南方油畫風(fēng)景的“水墨”色彩。第三章為色彩在油畫風(fēng)景中的價(jià)值體現(xiàn),闡明色彩在油畫風(fēng)景中的重要性。首先對色彩的價(jià)值進(jìn)行概述,然后再分別對色彩的美學(xué)價(jià)值、情感價(jià)值、人文價(jià)值和歷史價(jià)值進(jìn)行總結(jié)。第四章是油畫風(fēng)景中色彩的表現(xiàn)力與情感語言的重要體現(xiàn),是本文的重點(diǎn)和難點(diǎn)。筆者將從油畫風(fēng)景中色彩表現(xiàn)力的體現(xiàn)和油畫風(fēng)景中色彩情感語言的體現(xiàn)這兩大板塊進(jìn)行闡明,再具體對色彩的抽象性表現(xiàn)力、色彩的象征性表現(xiàn)力、色彩的寫實(shí)性表現(xiàn)力對色彩的表現(xiàn)力進(jìn)行說明,再從“希望與絕望”、“歡樂與悲傷”兩個(gè)對立面的感情加以論述色彩的情感語言。最后一章為油畫風(fēng)景寫生中色彩要素的實(shí)踐性應(yīng)用。 本論文以油畫風(fēng)景寫生及創(chuàng)作為切入點(diǎn),系統(tǒng)地論述了色彩的功能性、目的性以及色彩的構(gòu)成因素和色彩建構(gòu)的情感、精神本質(zhì)。系統(tǒng)地分析了創(chuàng)作主體的主觀性與色彩形成的關(guān)系,揭示了油畫創(chuàng)作中表現(xiàn)力與情感之間關(guān)系與影響,闡明了色彩在現(xiàn)代繪畫中的重要地位,結(jié)合國內(nèi)外強(qiáng)調(diào)色彩因素的畫家和作品,分析并論證油畫風(fēng)景寫生的色彩要素。
[Abstract]:Color, as an important language factor in oil painting art, is an inescapable subject of oil painting art. The expression law of color language is the core of oil painting. It is also the key link of the artist's main body in expressing personality style and spirit externalization, the important factor. Different from the simple formula, If an artist wants to form his own unique color language, he should not only understand the law of color correctly, but also be familiar with and apply the art law flexibly. As a tool, language conveys information of various styles through different forms, and realizes communication and communication between people. Color can be said to be a visible "language" of oil painting art, and the artist is in accordance with the objective world. The materialized carrier of expressing emotion plays an explanatory role in different countries all over the world. It seems that there are no strict "language" boundaries between nations. The study and exploration of oil painting color language is endless. The function of color language is not only to show the changing characteristics of different emotions. If you want to master the basic skills of oil painting, you must first understand the language of color. We can not simply explore the language of color from the perspective of color. It is inevitable that some far-fetched, some inevitable to generalize. This paper intends to use five chapters to discuss the expressive power and emotional language of color in oil painting landscape. The first chapter reviews and analyzes the development of color application in oil painting landscape. The second chapter is the characteristics of color application in oil painting landscape. In this chapter, according to the chronological order, we select the representative painting schools in different periods (Babinet-Impressionist-Post-Impressionist-modernist), and combine with the representative painters of various painting schools to expound: Babbitson painting School-Restoration. The first part is composed of natural and primitive simple colors; The second part is Impressionist-recording the instantaneous color of light and shadow, the third part of this chapter is the hyperbole that post-Impressionism gives to the heart and emotion. The third chapter is the value embodiment of color in oil painting landscape, expounding the importance of color in oil painting landscape. Then the aesthetic value, emotional value, humanistic value and historical value of color are summarized respectively. Chapter 4th is an important embodiment of color expression and emotional language in oil painting landscape. It is the focus and difficulty of this paper. The author will expound from the two major plates: the embodiment of color expressiveness in oil painting landscape and the embodiment of color emotion language in oil painting landscape, and then the abstract expressive power of color, the symbolic expressive power of color, The realistic expressiveness of color illustrates the expressiveness of color. Then from "hope and despair", "joy and sadness" two opposite feelings to discuss the emotional language of color. The last chapter is the practical application of color elements in oil painting landscape sketch. This paper takes oil painting landscape sketch and creation as the breakthrough point, systematically discusses the color function, the purpose, the color composition factor and the color construction emotion, This paper systematically analyzes the relationship between subjectivity and color formation of creative subject, reveals the relationship and influence between expressiveness and emotion in oil painting, and clarifies the important position of color in modern painting. Combining with the painters and works which emphasize the color factor at home and abroad, this paper analyzes and demonstrates the color elements of oil painting landscape sketch.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213

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本文編號：1544350