發(fā)布時(shí)間：2018-03-12 07:36

  本文選題：繪畫(huà)語(yǔ)言　切入點(diǎn)：獨(dú)特性　出處：《中央美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：阿利克斯·科爾維爾是20世紀(jì)加拿大著名畫(huà)家,他1920年出生于多倫多,后來(lái)就讀于蒙特愛(ài)立森大學(xué)學(xué)習(xí)美術(shù),1942年大學(xué)畢業(yè),同年結(jié)婚、入伍。1944年他以戰(zhàn)地畫(huà)家的身份被派往國(guó)外記錄了他對(duì)二戰(zhàn)印象,回國(guó)之后回到母校任教。1963年他離開(kāi)了學(xué)校成為了一名職業(yè)畫(huà)家他的作品被加拿大國(guó)家美術(shù)館收藏,但直到1969——1970年在漢諾威和倫敦舉辦畫(huà)展,他才為更多人所知并獲得了商業(yè)上的成功,之后他的作品在世界多地展出,并被許多美術(shù)館和私人收藏�？�?tīng)柧S爾善于從生活中尋找靈感,通過(guò)精致、反復(fù)的構(gòu)圖組織畫(huà)面,他繪畫(huà)中的氣氛以寧?kù)o、空曠為主,形成在現(xiàn)實(shí)主義中帶有神秘、象征色彩的虛幻現(xiàn)實(shí)主義。在同時(shí)期還有一位偉大的現(xiàn)實(shí)主義畫(huà)家懷斯,同樣出生在北美洲的兩位偉大的畫(huà)家表現(xiàn)的內(nèi)容相似,但風(fēng)格迥異。我在研究分析時(shí)采用舉例法和比較法,通過(guò)對(duì)科爾維爾繪畫(huà)特點(diǎn)、歷史傳承的逐一分析,同時(shí)通過(guò)與懷斯生活背景、作品特點(diǎn)的比較,從而明確的說(shuō)明其作品的不同之處,進(jìn)一步闡明其繪畫(huà)語(yǔ)言的獨(dú)特性。在造型的趣味上科爾維爾描繪的形象即寫(xiě)實(shí)但又更加概括、提煉,再加上畫(huà)面中明確的結(jié)構(gòu)線,構(gòu)成了更加平面化的視覺(jué)效果。20世紀(jì)80年代柯?tīng)柧S爾來(lái)到過(guò)中國(guó),國(guó)內(nèi)的蔣大可對(duì)柯?tīng)柧S爾的研究結(jié)合畫(huà)家的人生經(jīng)歷對(duì)其繪畫(huà)特點(diǎn)分析、對(duì)傳統(tǒng)的繼承以及繪畫(huà)形式內(nèi)容的分析。其他國(guó)內(nèi)對(duì)柯?tīng)柧S爾的研究也大多類似,多發(fā)表于期刊。國(guó)外研究柯?tīng)柧S爾繪畫(huà)的也是屈指可數(shù),最有代表性的是加拿大的大衛(wèi).賓納寫(xiě)的《論柯?tīng)柧S爾的藝術(shù)》,他的研究是通過(guò)結(jié)合畫(huà)家的人生經(jīng)歷、受到的教育來(lái)分析不同時(shí)期柯?tīng)柧S爾的繪畫(huà)風(fēng)格特點(diǎn),以及畫(huà)家如何從身邊的記憶中提取素材并完成作品。就科爾維爾這位畫(huà)家而言國(guó)內(nèi)的相關(guān)研究資料較少,更為人熟知的是懷斯。用兩位地域相似、表現(xiàn)題材相似的畫(huà)家去做比較分析也非常有意義。
[Abstract]:Alex Colville, a famous Canadian painter on 20th century, was born in Toronto in 1920, studied art at Monterey Ellison University, graduated from college in 1942, and got married in the same year. In 1944 he was sent abroad as a war painter to record his impressions of World War II and returned to his alma mater to teach. In 1963 he left the school to become a professional painter and his works were collected by the National Gallery of Canada. But it was not until he held exhibitions in Hanover and London in 1969-1970 that he became more known and commercially successful, and his works were exhibited in many places around the world. By many art galleries and private collections. Colville is good at looking for inspiration from life, through exquisite, repeated composition of the picture, his painting atmosphere with quiet, empty, formed in realism with mystery, Illusory realism of symbolic color. At the same time, there was also a great realistic painter, Wise, who was born in North America, and the two great painters who were born in North America did the same thing. But the style is very different. When I study and analyze, I use the method of example and comparison, through the analysis of the characteristics of Colville's painting, the historical heritage one by one, at the same time, through the comparison with the background of Wise's life and the characteristics of the works. In order to clearly explain the differences between his works, and further clarify the uniqueness of his painting language. In the interest of modeling, Colville's image is realistic but more generalized, refined, plus the clear structural lines in the picture. In 80s, Colville came to China. Jiang Dake's study of Colville in China combined with the painter's life experience to analyze his painting characteristics. Analysis of traditional inheritance and painting form content. Other domestic studies on Colville are mostly similar, mostly published in journals. Only a handful of people have studied Colville's paintings abroad. The most representative is Canadian David Binner's on Colville's Art. His research is to analyze the characteristics of Colville's painting style in different periods by combining the painter's life experience and education. And how painters draw material from the memory around them and complete their work. As far as Colville is concerned, there is less research in China, and more well-known is Wise. The two are geographically similar. It is also very meaningful to show artists with similar themes to do comparative analysis.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205

【相似文獻(xiàn)】

相關(guān)期刊論文 前9條

1 王巴嬰;;尋找柯?tīng)柧S爾的密碼[J];美術(shù)大觀;2009年06期

2 大衛(wèi)·賓納;論柯?tīng)柧S爾的藝術(shù)[J];世界美術(shù);1985年01期

3 ;加拿大畫(huà)家亞歷克斯·柯?tīng)柧S爾作品展[J];美術(shù);1985年01期

4 邱秉鈞;介于現(xiàn)實(shí)與想像之間的繪畫(huà)藝術(shù)——加拿大畫(huà)家阿歷克斯·柯?tīng)柧S爾[J];美術(shù);1985年02期

5 龍力游;數(shù)、幾何學(xué)的理意運(yùn)用——略論弗朗西斯卡與柯?tīng)柧S爾的藝術(shù)[J];美術(shù);1987年10期

6 李善陽(yáng);論懷斯和柯?tīng)柧S爾的繪畫(huà)風(fēng)格[J];棗莊學(xué)院學(xué)報(bào);2005年03期

7 賴志強(qiáng);;建構(gòu)民族認(rèn)同與現(xiàn)代美術(shù)的范例——1980年代《美術(shù)》雜志里的臺(tái)灣與西方美術(shù)[J];美術(shù)館;2009年02期

8 徐永林;夏麗;劉溢;;“貴妃醉酒”——從梅蘭芳的“絕活”到畫(huà)家劉溢的借用和演繹《中國(guó)藝術(shù)》記者對(duì)畫(huà)家劉溢的一次訪談[J];中國(guó)藝術(shù);2010年01期

9 ;[J];;年期

相關(guān)重要報(bào)紙文章 前1條

1 陳鏗;沉思與感懷[N];美術(shù)報(bào);2013年

相關(guān)碩士學(xué)位論文 前3條

1 郝龍;論科爾維爾的藝術(shù)特色[D];中央美術(shù)學(xué)院;2017年

2 郝克成;論柯?tīng)柧S爾繪畫(huà)的理性思維[D];河北師范大學(xué);2014年

3 李善陽(yáng);寫(xiě)實(shí)繪畫(huà)中的抽象意味[D];中央美術(shù)學(xué)院;2005年

，

本文編號(hào)：1600610