本文選題：柯羅 + 風(fēng)景畫(huà)�。� 參考：《山東師范大學(xué)》2013年碩士論文

【摘要】：柯羅在西方美術(shù)史上是一個(gè)被公認(rèn)的具有承上啟下作用的重要風(fēng)景畫(huà)家，他的出現(xiàn)從某種意義上改變了西方美術(shù)歷史走向，也是十九世紀(jì)那個(gè)時(shí)代古典主義與新思潮新觀念之間的激烈碰撞的集中體現(xiàn)�？铝_與巴比松畫(huà)派在藝術(shù)史中是被高度贊揚(yáng)的，莫奈等印象派畫(huà)家對(duì)柯羅的贊譽(yù)甚至讓人無(wú)法認(rèn)同。但他在美術(shù)史上還沒(méi)有取得與實(shí)際成就和影響相匹配的地位，實(shí)際上應(yīng)該給與柯羅更客觀的評(píng)價(jià)。在風(fēng)云變幻的法國(guó)十九世紀(jì)畫(huà)壇，各種藝術(shù)思潮和流派風(fēng)起云涌，互相融合與碰撞，而這之中自然會(huì)出現(xiàn)集眾家之所長(zhǎng)的藝術(shù)結(jié)晶。 對(duì)景寫(xiě)生屬于巴比松畫(huà)派取得創(chuàng)新成功的動(dòng)力方面因素。由于巴比松畫(huà)派的畫(huà)家們走出畫(huà)室，直接來(lái)到客觀自然景物的面前，因此也就將畫(huà)家對(duì)大自然直接的主觀感受保存在了他們的畫(huà)布之上。在這之中柯羅是風(fēng)格折衷的一位，新古典主義提倡古希臘雕塑的即古希臘繪畫(huà)的理想美，作品中要透漏出古代希臘審美傾向的端莊、典雅、和諧，強(qiáng)烈地排斥藝術(shù)家個(gè)人的情緒表達(dá)，而柯羅的不少風(fēng)景畫(huà)中正是有著這種典雅、和諧，這是對(duì)新古典主義審美理念的部分肯定。但柯羅強(qiáng)烈的情感表達(dá)確是與新古典主義格格不入的，以及柯羅并不將造型與素描放在比顏色更重要的位置，達(dá)芬奇的蒙娜麗莎中的背景以及威尼斯壁畫(huà)中的背景，都有清晰的輪廓和型，相比較而言色彩并無(wú)明顯個(gè)性。新古典主義繪畫(huà)中的背景風(fēng)景可以帶來(lái)明了的對(duì)比。古典主義繪畫(huà)的色彩方面與柯羅的風(fēng)景畫(huà)有明顯的區(qū)別，但柯羅的作品對(duì)古典主義乃至新古典主義有明顯的繼承可以看到在柯羅的創(chuàng)作中明顯保持著兩種表達(dá)傾向，一種是現(xiàn)實(shí)主義風(fēng)格的，另一種是符合歷史風(fēng)景畫(huà)規(guī)則要求特征的。 本文的主旨在于通過(guò)分析柯羅風(fēng)景畫(huà)中體現(xiàn)出的對(duì)古典主義的繼承之處以及畫(huà)家的主觀人文色彩的表現(xiàn)特點(diǎn)，以及在實(shí)踐方面對(duì)印象主義所產(chǎn)生的影響，揭示出柯羅在西方美術(shù)史中的獨(dú)特的重要?dú)v史作用。也許正因?yàn)樗麄兊淖髌分兴w現(xiàn)出的各種思潮和流派的影響，減弱了畫(huà)面的鮮明個(gè)性，，成為一個(gè)不容易歸類的小團(tuán)體。 但是應(yīng)該認(rèn)識(shí)到柯羅是戶外寫(xiě)生的倡導(dǎo)者，也是印象主義的實(shí)踐前身。也是十九世紀(jì)那個(gè)時(shí)代古典主義與新思潮新觀念之間的激烈碰撞的集中體現(xiàn)。他的作品代表的法國(guó)十九世紀(jì)那個(gè)時(shí)代藝術(shù)史上風(fēng)云突變。古典主義與浪漫主義交織下產(chǎn)生了柯羅，而柯羅又引發(fā)了印象派繪畫(huà)。從柯羅一個(gè)人身上，可以反映出一個(gè)時(shí)代的面貌，又可以解釋傳統(tǒng)文化與新興價(jià)值在實(shí)際中的交錯(cuò)演變。研究柯羅的意義，體現(xiàn)在能夠幫助對(duì)西方美術(shù)史的近代部分有更真實(shí)的認(rèn)識(shí)和理解。
[Abstract]:In the history of western art, Colo is recognized as an important landscape painter with a connecting role. In a sense, his appearance has changed the trend of western art history. It was also a concentrated reflection of the fierce collision between classicism and new ideas in the nineteenth century. Colo and Babbitson were highly praised in the history of art, and Monet and other Impressionist painters praised him with disapproval. But he has not yet achieved a position commensurate with actual achievements and influences in art history, and should actually be given a more objective assessment. In the changing French painting world of the nineteenth century, all kinds of artistic trends and schools of thought were surging, merging and colliding with each other. In this way, there will be the artistic crystallization of the talents of the gathering family. The opposite view painting belongs to the motive force of the Babbitson school to achieve the innovation and success. Since the painters of the Babbitson School walked out of the studio and came directly to the objective natural scenery, the painter's direct subjective feeling of nature was preserved on their canvas. Among them, Colo is one of the eclectic styles. Neo-classicism advocates the ideal beauty of ancient Greek sculpture, that is, ancient Greek painting. In his works, he should reveal the elegance, elegance and harmony of the aesthetic tendency of ancient Greece. Strongly repels the artist's individual emotion expression, but many of Colo's landscape paintings have this elegance and harmony, which is part of the affirmation of the neoclassical aesthetic idea. But Colo's strong emotional expression is at odds with neoclassicism, and Colo doesn't put modeling and sketching in a more important position than color, the background in Leonardo da Vinci's Mona Lisa and the background in the Venetian murals. Have clear outline and shape, compared to color and no obvious personality. The background scenery in neoclassical painting can bring clear contrast. The color aspect of classical painting is obviously different from that of Colo's landscape painting, but Colo's works have obvious inheritance to classicism and even neoclassicism. It can be seen that there are two expressive tendencies in Colo's creation. One is realistic, The main purpose of this paper is to analyze the inheritance of classicism embodied in Colo's landscape painting and the characteristics of the painter's subjective humanistic color. The influence of practice on Impressionism reveals the unique and important historical role of Colo in the history of western art. Perhaps because of the influence of the thoughts and genres embodied in their works, they have weakened the vivid personality of the picture and become a small group that is not easy to categorize. But it should be recognized that Colo is an advocate of outdoor sketching. It is also the forerunner of impressionism. It was also a concentrated reflection of the fierce collision between classicism and new ideas in the nineteenth century. His works represent a sudden change in the history of art in France in the nineteenth century. Classical and romantic intertwined with the production of Colo, which led to the Impressionist painting. From a person, it can reflect the face of an era and explain the staggered evolution of traditional culture and new values in practice. The significance of studying Cologne is that it can help to understand the modern part of western art history more truthfully.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J205

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