本文選題：現(xiàn)代主義 + 油畫平面化　； 參考：《四川美術(shù)學(xué)院》2017年碩士論文

【摘要】：十九世紀(jì)末二十世紀(jì)初,現(xiàn)代主義藝術(shù)以區(qū)別于以往的姿態(tài)登上了西方藝術(shù)史的舞臺。平面性繪畫語言的出現(xiàn)逐漸取代了傳統(tǒng)繪畫中引以為傲的諸如素描關(guān)系、透視原理、明暗光影等一系列繪畫法則�，F(xiàn)當(dāng)代平面性繪畫語言的產(chǎn)生,是藝術(shù)史發(fā)展的結(jié)果,同時(shí)也是藝術(shù)家強(qiáng)烈情感表達(dá)欲望尋求新的表現(xiàn)方法的結(jié)果。平面性繪畫語言從出現(xiàn)時(shí)的簡單運(yùn)用發(fā)展到如今豐富多彩的形式,經(jīng)歷了各個(gè)時(shí)代藝術(shù)們的不斷探索和革新。油畫中平面化體現(xiàn)于色彩中表現(xiàn)為主觀化、單純化;體現(xiàn)于構(gòu)圖中表現(xiàn)于不受客觀世界三維空間的限制。平面性繪畫語言在帶來新的藝術(shù)表現(xiàn)方法同時(shí),也帶來了關(guān)于內(nèi)心的感應(yīng)。它豐富了繪畫的表現(xiàn)形式,擴(kuò)大了繪畫的空間,反過來也讓藝術(shù)家在油畫創(chuàng)作中更自由地表達(dá)自身的情感。本文從四個(gè)章節(jié)針對平面性繪畫語言的特質(zhì)以及藝術(shù)家運(yùn)用平面性繪畫語言進(jìn)行情感表達(dá)的案例展開研究。第一章的緒論闡明了該篇文章的選題意義和目前專業(yè)領(lǐng)域內(nèi)對此命題的研究狀況,以及筆者本人在進(jìn)行研究期間的思路與方法。第二章闡述平面性繪畫語言在西方美術(shù)史上的發(fā)展演變,并對這一類油畫的劃分標(biāo)準(zhǔn)與藝術(shù)形式進(jìn)行分析、歸類和總結(jié),提高對其獨(dú)特藝術(shù)特征的認(rèn)識和理解。第三章對藝術(shù)中情感的表達(dá)功能演變進(jìn)行分析,以及在當(dāng)代藝術(shù)中藝術(shù)家選擇情感表達(dá)作為創(chuàng)作主題的意義,從而延展出藝術(shù)家會選擇這種平面化的手法進(jìn)行繪畫中的情感表達(dá)的原因,并且通過舉例論證二者之間是如何和諧在藝術(shù)家的作品中得到呈現(xiàn)。第四章從筆者自身的油畫創(chuàng)作出發(fā),探討如何在創(chuàng)作中運(yùn)用自己感興趣的這種語言形式表達(dá)自身的情感訴求,使二者達(dá)到一種統(tǒng)一,力圖在畫面中呈現(xiàn)出一種具有情感性的和諧寧靜的美感。同時(shí)在這一章中也提出了年輕的藝術(shù)家在學(xué)習(xí)和運(yùn)用平面性繪畫語言的過程中需要特別注意的問題。最后進(jìn)行總結(jié),提出了平面性繪畫語言的運(yùn)用與藝術(shù)家情感表達(dá)之間存在的相互推動的關(guān)系。得出了只有在對平面性繪畫語言和藝術(shù)家繪畫中的情感表達(dá)進(jìn)行全面而深入的研究的基礎(chǔ)上,才有可能更好的運(yùn)用這種方式進(jìn)行藝術(shù)創(chuàng)作。
[Abstract]:At the end of the 19th century and the beginning of the twentieth century, modernist art took on the stage of western art history with a posture different from the past. The appearance of plane painting language has gradually replaced a series of painting principles such as sketch relation, perspective principle, light and dark light and shadow, which are proud of traditional painting. The generation of contemporary graphic painting language is the result of the development of art history and the result of the artists' strong emotional expression desire to seek new ways of expression. From the simple application of plane painting language to the rich and colorful forms, it has experienced the continuous exploration and innovation of various times of art. The planarization in oil painting is reflected in the color as subjective and simple, and in the composition it is not restricted by the three-dimensional space of the objective world. Plane painting language brings new artistic expression method, but also brings about the inner feeling. It enriches the expression of painting, expands the space of painting, and in turn allows artists to express their feelings more freely in oil painting. This paper focuses on the characteristics of plane painting language and the case study of artists' emotional expression using plane painting language. The introduction of the first chapter illustrates the significance of the topic of this article and the current situation of research on this proposition in the professional field, as well as the author's thoughts and methods during the research period. The second chapter expounds the development and evolution of plane painting language in the history of western art, and analyzes, classifies and summarizes the classification standard and art form of this kind of oil painting, so as to improve the understanding and understanding of its unique artistic characteristics. The third chapter analyzes the evolution of the expression function of emotion in art, and the significance of choosing emotional expression as the theme of creation in contemporary art. The reason why the artist will choose this kind of flat technique to express emotion in painting is extended, and how the harmony between them is presented in the artist's works is demonstrated by examples. The fourth chapter from the author's own oil painting creation, discusses how to use the language form of their own interest to express their emotional demands in order to achieve a unity between the two. Try to show a kind of emotional harmony and tranquility in the picture. At the same time, in this chapter, the problems that young artists need to pay special attention to in the process of learning and using the language of plane painting are also put forward. Finally, the author puts forward the relationship between the use of plane painting language and the expression of artist's emotion. Only on the basis of a comprehensive and in-depth study of the expression of emotion in plane painting language and artist painting, it is possible to make better use of this method for artistic creation.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J213

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本文編號：2021299