本文選題：油畫人物 + 寫生��； 參考：《安徽師范大學(xué)》2014年碩士論文

【摘要】：我們完成了一件油畫寫生作品時(shí)，會(huì)發(fā)現(xiàn)這樣一個(gè)現(xiàn)象，我們往往聽到最直接的評(píng)價(jià)就是畫的“像與不像”，我們有時(shí)會(huì)不自覺的以為“像”就是畫的好，“不像”就是畫的不好。這是一種鑒賞繪畫作品最直觀的方式，而這種評(píng)價(jià)在油畫人物寫生方面更為顯著。而這種像與不像的觀看鑒賞方式很容易讓人想到齊白石說過的那句話”繪畫妙在似與不似之間”那到底是“像”即“似”更為重要還是“不像”即“不似”更為重要呢？隨著經(jīng)濟(jì)的發(fā)展，我們接觸到繪畫的流派越來越繁多。我們的眼界不斷的開闊了，但似乎手上的繪畫功夫還跟不上我們所看到的，我們?cè)絹碓阶非笞杂�，在藝術(shù)領(lǐng)域中尤為顯著。油畫人物寫生發(fā)展到今天，出色的人物寫生形象也并非沒有，，但是總是覺得大眾在像與不像上太過專注,這需要我們對(duì)繪畫理論有所了解和深入。 而油畫人物寫生中“不似之似”表現(xiàn)在畫面上有很多種方法。 這其中包括外在的技法方面和畫家內(nèi)在的情感方面，也就是“似與不似”的外在表現(xiàn)和內(nèi)在表現(xiàn)。技法類的外在表現(xiàn)需要的是對(duì)繪畫基礎(chǔ)性的掌握，表現(xiàn)在畫面上多是比例結(jié)構(gòu)空間色彩方面。而關(guān)于畫家的內(nèi)心方面就是內(nèi)在的不似卻不是任何人都能有所成就，這就需要更多的理論充實(shí)。
[Abstract]:When we finish a painting, we find this phenomenon, we often hear the most direct evaluation is the painting of "like and not like," we sometimes unconsciously think that "like" is a good painting. "not like" is not a good picture. This is the most intuitive way to appreciate paintings, and this evaluation is more prominent in painting sketches. And it's easy to think of Qi Baishi's saying that "painting is between likeness and non-likeness," which is more important than "like" or "not like"? With the development of economy, we come into contact with more and more schools of painting. Our horizons continue to widen, but it seems that the hand of painting is not keeping up with what we see, we are increasingly pursuing freedom, especially in the field of art. Oil painting has developed to today, the outstanding figure sketch image is not without, but always feel that the public in the image and not like too much attention, which requires us to understand and deepen the theory of painting. In oil painting, there are a lot of ways to show the "unlikeness" in painting. This includes the external technique and the painter's inner emotion, that is, the external expression and the internal expression of "likeness and non-likeness". The external representation of techniques needs to master the basis of painting, which is mostly in the aspect of space color of proportional structure. But on the painter's inner side is the inner but not anyone can achieve, which requires more theoretical enrichment.
【學(xué)位授予單位】：安徽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 李克;;中國美術(shù)百年變革中的“寫實(shí)”研究[J];東岳論叢;2009年10期

2 賈武明;;淺析中國新寫實(shí)油畫[J];美術(shù)大觀;2009年08期

本文編號(hào)：1942473