本文選題：光和色 + 西方繪畫�。� 參考：《遼寧師范大學》2015年碩士論文

【摘要】：光和色在西方繪畫的發(fā)展與變革中扮演著最重要的角色,它們作為一種特殊的繪畫語言一直伴隨著西方繪畫經(jīng)歷了無數(shù)個發(fā)展歷程,直到今天。每個不同的時期,光和色在繪畫中的作用不同,被畫家重視的程度也不相同。本文首先分析了光和色在西方繪畫中的作用。分別從中世紀的宗教藝術(shù),光和色具有象征意義,并非具有其本身的特性,只是作為一種精神符號出現(xiàn)在畫面中,是神圣的語言;到了文藝復興時期,沖破了中世紀宗教思想的束縛,藝術(shù)作品也更加接近自然,光和色不再是被用來作為象征性的手段,而是作為一種無足輕重的藝術(shù)語言出現(xiàn)在畫面中;17、18世紀的繪畫,越來越注重用光來營造畫面效果、烘托畫面的氣氛。新古典主義的色彩是建立在素描基礎(chǔ)上的,光在新古典主義繪畫中依然是被用來襯托畫面;盛行于19世紀上半葉的浪漫主義推翻了古典主義繪畫的程式,他們走出畫室面向大自然,畫面注重光和色的變化,用飽滿的顏色來抒發(fā)自己的內(nèi)心情感。其次分析了光和色在印象派、新印象派繪畫語言中發(fā)揮的作用。19世紀,隨著自然科學的不斷發(fā)展,印象派畫家將實踐與光色理論結(jié)合,走出畫室,追求光色的瞬間印象、素描觀念的轉(zhuǎn)變改變了藝術(shù)的死寂、環(huán)境色的運用使印象派的繪畫更加豐富多彩、陰影不再是灰暗的褐色與黑色、忽略物體的輪廓線和形體塑造、用靈動自由的筆觸和形狀各異的色點來描繪畫面,使印象派的繪畫生動、形象、富有生機,帶給我們一種全新的視覺盛宴。以馬奈、莫奈、雷諾阿、德加為例論述了印象派畫家繪畫語言中光和色的新形式;新印象派繪畫在顏色上沿襲印象派的用色技巧,以科學的色彩理論為指導來進行作畫,用小色點把原色直接點到畫布上,形成色彩的視覺混合效果。以修拉為例論述了新印象派繪畫光和色的理性表達。最后分析了后印象派對光和色的主觀表現(xiàn)。隨著社會的不斷發(fā)展進步,光和色成為畫家表達自己主觀情感的最主要元素,后印象派繪畫還受到東方藝術(shù)的影響,作品表達了畫家主觀情感的同時,使得作品更具表現(xiàn)性、裝飾性、象征性。以塞尚、凡高、高更為例論述了后印象派畫家對光色的個性化表達。
[Abstract]:Light and color play the most important role in the development and transformation of western painting. As a special painting language, they have been accompanied by numerous development processes of Western painting until today. At different times, light and color play different roles in painting and are valued differently by painters. This paper first analyzes the role of light and color in Western painting. From the religious art of the Middle Ages, light and color were symbolic, not of their own character, but merely appeared in the picture as a spiritual symbol, a sacred language, to the Renaissance, Breaking through the shackles of medieval religious thought, works of art are closer to nature, and light and color are no longer used as symbolic means, but as an insignificant artistic language in the paintings of the 1718th century. Pay more and more attention to use light to create picture effect, foil the atmosphere of the picture. The colors of neoclassicism were based on sketches, and light was still used as a foil in neoclassical paintings; Romanticism, which prevailed in the first half of the 19th century, overthrew the program of classical painting. They go out of the studio and face nature, focusing on the changes of light and color and expressing their inner feelings with full colors. Secondly, it analyzes the role of light and color in the Impressionist, Neo-Impressionist painting language. With the continuous development of natural science, Impressionist painters combine practice with light color theory, walk out of the studio and pursue the instant impression of light color. The change of the concept of sketch changed the stillness of art, the use of environmental colors made the Impressionist paintings more colorful, the shadows were no longer gray brown and black, and the contours and shapes of objects were ignored. The vivid, vivid and vivid paintings with free brushstrokes and colorful dots of various shapes bring us a new kind of visual feast. Taking Manet, Monet, Renoir and Degas as examples, this paper discusses the new forms of light and color in the painting language of Impressionist painters. The primary color is placed directly on the canvas with a small color dot to form a visual mixture of colors. This paper discusses the rational expression of light and color in Neo-Impressionist painting with Serra as an example. Finally, it analyzes the subjective performance of post-impressionism on light and color. With the continuous development and progress of society, light and color become the most important elements for artists to express their subjective feelings. Post-Impressionist paintings are also influenced by Oriental art. While the works express the painter's subjective feelings, they make the works more expressive. Decorative, symbolic Taking Cezanne, Van Gogh and Gauguin as examples, this paper discusses the individualized expression of light and color by post-impressionist painters.
【學位授予單位】：遼寧師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J213

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