本文選題：納比派 + 勃納爾��； 參考：《揚州大學》2014年碩士論文

【摘要】：大自然因色彩的裝扮而更加絢麗繽紛,心靈亦因色彩的傳達才能突顯它更多的美。自然界中存在真實的色彩,人的內心世界有隱晦的色彩,人類的復雜情感可通過色彩來傳達,讓觀者體味其中的喜怒哀傷。藝術源于生活,卻又不是對現(xiàn)實生活地簡單復現(xiàn),而是經過藝術家們的主觀處理,將個人的思想情感融入到所展現(xiàn)的內容中。在今天筆者所研究的這一課題上,來自于法國納比派的藝術家們就真正的做到了這一點,其中最具代表性的畫家要屬皮埃爾·勃納爾和愛德華·維亞爾。 在藝術發(fā)展進程中,納比派的藝術家們綜合性的探討和支持了象征主義和印象主義的理念,并將拋棄一切學院派的教條做為使命,運用單純的變形法則,強調對自然進行重新安排,突顯了其繪畫作品的象征性和綜合性、主觀性和寫意性以及平面性和裝飾性等特征；在繪畫形式方面,他們摒棄了當時法國官方藝術中僵硬的繪畫表現(xiàn)手法,運用意象朦朧的色彩、的內景題材以及沉著質樸的特殊材料,創(chuàng)作出了一系列色調柔和,富有韻律感的作品。但就筆者目前所整理的資料看,關于納比派繪畫的理論著作尤其是色彩方面的論述卻相對較少,有的也只是做了個別畫家的個案分析。為此,筆者覺得有必要進一步對納比派和其獨特的色彩藝術進行力所能及的思考和探索。 本文,筆者以美學理論為指導,運用社會學、圖像學等研究方法在歸納概括出納比派產生的背景原因以及繪畫主要特征的基礎之上,著重以勃納爾和維亞爾的繪畫作品為例,從物象造型、空間表現(xiàn)、表現(xiàn)技巧以及基調形式四個方面,結合色相、明度、純度、面積、材料等形式語言要素綜合探索納比派繪畫色彩的形式美,進而揭示出其畫面色彩的精髓及其對后世的啟示與意義,以期人們可以更為全面地理解納比派的繪畫藝術并且也為自身的油畫創(chuàng)作提供借鑒。
[Abstract]:Nature is more colorful because of the color, and the heart is more beautiful because of the color. There are real colors in nature and subtle colors in people's inner world. The complex emotions of human beings can be conveyed by color, which makes the viewer appreciate the joy, anger and sadness. Art originates from life, but it is not a simple reproduction of real life, but through the subjective treatment of artists, the personal thoughts and feelings are integrated into the displayed content. On the subject studied by the author today, the artists from the Nabi school of France have really done this, and the most representative painters are Pierre Bonnard and Edward Villar. In the process of artistic development, the Nabidist artists have comprehensively discussed and supported the concepts of symbolism and impressionism, and made it their mission to abandon the dogma of all academicians and to apply the simple law of transformation. Emphasizing the rescheduling of nature, highlighting the symbolism and comprehensiveness of his paintings, subjectivity and freehand brushwork, planarity and decoration, etc., in the form of painting, They abandoned the stiff expression of painting in the French official art at that time, and created a series of soft and rhythmic works by using the dim color of the image, the theme of interior scene and the special material of calm and simplicity. But according to the data that the author collates at present, the theoretical works on Nabidist painting, especially the color aspect, are relatively few, some of them are only the case analysis of individual painters. Therefore, I think it is necessary to further think and explore Nabiism and its unique color art. In this paper, under the guidance of aesthetic theory, using sociology, graphology and other research methods, on the basis of summing up the background reasons of Nabidism and the main characteristics of painting, the author emphatically takes Bonnard and Weyar's paintings as examples. From the four aspects of image modeling, space expression, expression technique and tone form, combined with hue, brightness, purity, area, material and other formal language elements, this paper explores the formal beauty of Nabidist painting colors. Furthermore, it reveals the essence of the painting color and its enlightenment and significance to later generations, in order that people can fully understand the painting art of Nabiism and also provide reference for their own oil painting creation.
【學位授予單位】：揚州大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J209.9

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本文編號：1834098