試論當(dāng)代油畫色彩的“貧血”現(xiàn)象
發(fā)布時(shí)間：2018-07-15 19:58
【摘要】：第一章為緒論部分，主要是對論文的選題背景，研究意義和研究內(nèi)容進(jìn)行簡單的介紹. 第二章從油畫色彩的形成出發(fā)，研究油畫色彩的重要性并對其意義進(jìn)行簡要闡述，進(jìn)而了解色彩在油畫中的重要地位，最后結(jié)合現(xiàn)狀對中國當(dāng)代油畫色彩的現(xiàn)狀進(jìn)行分析。 第三章在西方油畫色彩體系中，固有色和條件色的運(yùn)用是油畫占據(jù)了重要的地位，從固有色到條件色體系的變化下對油畫色彩語言進(jìn)行探尋。丹培拉的使用給油畫色彩語言帶來了新的發(fā)展，不在拘泥于從前。隨著歷史的發(fā)展古典主義繪畫、印象主義繪畫也帶來了色彩體系從固有色到條件色的變化，為油畫色彩語言的探尋揭開了新篇章。 第四章主要針對在當(dāng)代文化多元化影響下的當(dāng)代繪畫，第一節(jié)主要介紹油畫色彩體系下，從客觀色彩到主觀色彩的轉(zhuǎn)變。從后印象派開始，油畫色彩是以主觀表現(xiàn)的方式來表達(dá)畫家的精神，這是對印象派外光色的又一次變革，從而確立了主觀性色彩在油畫中的地位。本節(jié)選取三個(gè)在轉(zhuǎn)變過程中起到重要作用的三個(gè)代表畫家：1、充滿強(qiáng)烈力感的油畫色彩—凡高；2、獨(dú)立于自然之外的主觀調(diào)動(dòng)—高更；3、形體空間到色彩空間的轉(zhuǎn)變—塞尚，成為了油畫面貌劇變的標(biāo)志。第二節(jié)以油畫色彩語言在精神層次的體現(xiàn)為主線。20世紀(jì)的油畫，藝術(shù)觀念的差異帶來流派的分離，新的繪畫語言的產(chǎn)生逐漸打開了藝術(shù)的多元化發(fā)展。油畫在色彩觀念上發(fā)生了很大變化，傳統(tǒng)油畫中的某方面技法往往被新的藝術(shù)觀念的形式強(qiáng)化，甚至被推崇到藝術(shù)的極端，精神性的追求在油畫的形式語言上得到關(guān)注。本節(jié)主要從立體主義和抽象主義以及那比派畫家的色彩語言進(jìn)行分析講述。 第五章闡述當(dāng)代中國油畫色彩的“貧血”，百年的探索創(chuàng)新使得中國油畫在創(chuàng)作主題上逐漸融入了中國元素，把油畫這門西化藝術(shù)與中國的歷史背景、文化、民族審美觀等等有機(jī)的結(jié)合到了一起，使中國油畫走向了自覺和自律藝術(shù)創(chuàng)作中。色彩減化指的是一種色彩的主觀處理，通常是對對象的本來色彩進(jìn)行減少和提煉，用一種或幾種較少的色彩進(jìn)行油畫創(chuàng)作。呈現(xiàn)出色彩單色化和色彩減少兩種現(xiàn)象，，單色化是19世紀(jì)50年代印象派色彩以后開始出現(xiàn)的一種主要的主觀性色彩，色彩減化則是當(dāng)下油畫特別是中國油畫在主觀性色彩上出現(xiàn)的新現(xiàn)象。 第六章主要闡釋了畫家從個(gè)人的藝術(shù)態(tài)度和對傳統(tǒng)油畫色彩體系精髓的繼承兩個(gè)方面，優(yōu)秀的油畫作品不僅僅像是現(xiàn)實(shí)景象的一個(gè)翻版，一個(gè)照片，而是具有藝術(shù)情感和精神追求的產(chǎn)物。 本文的主要觀點(diǎn)如下： 第一，色彩是油畫的重要語言，有著鮮活的表現(xiàn)力，在油畫創(chuàng)作中有著獨(dú)特的意蘊(yùn)，是其他繪畫語言不可替代的。 第二，通過對色彩語言在油畫歷史中的轉(zhuǎn)變以及語言表現(xiàn)，情感表達(dá)著手，進(jìn)而對當(dāng)代油畫色彩語言的表現(xiàn)形式進(jìn)行分析。隨著時(shí)代的發(fā)展，油畫創(chuàng)作也出現(xiàn)單色畫與單色化，一些畫家的心態(tài)變化使得油畫色彩的內(nèi)在精神有所缺失。 第三，通過對當(dāng)代油畫色彩現(xiàn)狀的分析，了解色彩在油畫創(chuàng)作中缺失的主要原因，解決其根本，現(xiàn)實(shí)的問題是,中國當(dāng)代油畫作品中的色彩功力與認(rèn)識(shí)還遠(yuǎn)不到家,無論是在色彩的能力與趣味性上,還是表現(xiàn)與把握上。 第四，油畫創(chuàng)作者應(yīng)該明確自己的個(gè)人藝術(shù)態(tài)度，加強(qiáng)自身修養(yǎng)，提高自己的專業(yè)水平，繼承傳統(tǒng)體系，不斷地創(chuàng)新提高繪畫的表現(xiàn)語言，加強(qiáng)油畫創(chuàng)作中的內(nèi)在表現(xiàn)精神，不迷失在社會(huì)發(fā)展的多元化中。 論文的不足之處是資料和研究者本身的能力的限制，論文會(huì)存在著很多的不足的問題。本論文的主要的不足的幾個(gè)方面：第一，由于研究范圍比較大而且資料比較有限本論文在歷史的角度分析會(huì)很生澀。第二，未能提出在當(dāng)代時(shí)代背景下，特別有利于當(dāng)代油畫發(fā)展的選題方案。
[Abstract]:The first chapter is the introduction, which mainly introduces the background, significance and content of the thesis.
The second chapter, starting from the formation of the color of oil painting, studies the importance of the color of oil painting and briefly expounds its significance, and then understands the important status of color in oil painting, and finally analyzes the present situation of Chinese contemporary oil painting in combination with the status quo.
The third chapter in the western oil painting color system, the use of solid colored and conditional color is the important position of oil painting, exploring the color language of oil painting from the change of solid color to the condition color system. It brings new development to the color language of oil painting, not in the past. With the history of the development of classical painting. Painting and impressionist painting also brought about changes in color system from solid color to conditional color, which opened a new chapter for the exploration of oil color language.
The fourth chapter mainly aims at the contemporary painting under the influence of contemporary cultural diversity. The first section mainly introduces the transformation of the painting color system, from the objective color to the subjective color. From the post Impressionist school, the painting color expresses the painter's spirit in a subjective way, which is another change to the color of the Impressionist outside, thus establishing the color of the Impressionist. The status of subjective color in oil painting. This section selects three representative painters which play an important role in the process of transformation: 1, oil painting color full of strong sense - Van Gogh; 2, the subjective mobilization independent of nature - Gao Geng; 3, the transformation of form space to color space - Cezanne, became the symbol of the change of oil painting. The second section of the oil painting color language in the spiritual level of the embodiment of the main line of the.20 century oil painting, the difference of artistic concept brings the separation of schools, the emergence of new painting language has gradually opened the diversified development of art. Oil painting has undergone great changes in the concept of color, the traditional oil painting techniques are often new art concepts. The form of intensification is even admired to the extreme of art. Spiritual pursuit is paid attention to in the formal language of oil painting. This section is mainly from the analysis of cubism and abstracism and the color language of the painters.
The fifth chapter expounds the "anaemia" of the contemporary Chinese oil painting color. The exploration and innovation of the hundred years made Chinese oil painting gradually integrate into the Chinese elements in the theme of creation. It combines the western art of oil painting with the historical background of China, culture and national aesthetic concept, which makes Chinese oil painting go to the artistic creation of self-consciousness and self-discipline. Color reduction refers to the subjective treatment of a color, usually the reduction and refinement of the original color of the object, and the creation of oil painting with one or more of the less colors. Two phenomena of monochromatic color and a decrease in color are presented. Monochromatic is a major subjectivity that began to appear after the Impressionist color of the 1850s. Sexual color and color reduction are new phenomena in the subjective color of contemporary oil paintings, especially Chinese oil paintings.
The sixth chapter mainly explains the artist's artistic attitude from the individual and the inheritance of the essence of the traditional painting color system in two aspects. The excellent oil painting is not only a copy of the realistic scene, but a photograph, but a product of artistic emotion and spiritual pursuit.
The main points of this paper are as follows:
First, color is an important language of oil painting. It has vivid expressive force and has unique meaning in oil painting creation. It is irreplaceable in other painting languages.
Second, through the change of color language in the history of oil painting, language performance, emotional expression, and then analyze the expression of color language in contemporary oil painting. With the development of the times, the creation of oil painting also appears monochromatic and monochromatic, some painter's mentality change makes the inner spirit of oil painting color lack.
Third, through the analysis of the present situation of the color of the contemporary oil painting, to understand the main reasons that the color is missing in the oil painting, to solve the fundamental problem, the realistic problem is that the color power and understanding of the Chinese contemporary oil paintings are far from home, whether it is in the color ability and interest, or the expression and grasp.
Fourth, oil painting creators should clear their own personal artistic attitude, strengthen their own self-cultivation, improve their professional level, inherit the traditional system, constantly innovate and improve the expression language of painting, strengthen the inner expressive spirit of oil painting, and do not lose in the pluralism of social development.
The shortcomings of the paper are the limitations of the information and the ability of the researchers themselves. There are many deficiencies in the paper. The main deficiencies of this paper are as follows: first, the analysis of the paper is very rough because of the large scope of the research and the limited data in history. Second, it has not been put forward in the contemporary era of the background. It is especially conducive to the development of contemporary oil painting topic selection plan.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213
本文編號(hào)：2125213
[Abstract]:The first chapter is the introduction, which mainly introduces the background, significance and content of the thesis.
The second chapter, starting from the formation of the color of oil painting, studies the importance of the color of oil painting and briefly expounds its significance, and then understands the important status of color in oil painting, and finally analyzes the present situation of Chinese contemporary oil painting in combination with the status quo.
The third chapter in the western oil painting color system, the use of solid colored and conditional color is the important position of oil painting, exploring the color language of oil painting from the change of solid color to the condition color system. It brings new development to the color language of oil painting, not in the past. With the history of the development of classical painting. Painting and impressionist painting also brought about changes in color system from solid color to conditional color, which opened a new chapter for the exploration of oil color language.
The fourth chapter mainly aims at the contemporary painting under the influence of contemporary cultural diversity. The first section mainly introduces the transformation of the painting color system, from the objective color to the subjective color. From the post Impressionist school, the painting color expresses the painter's spirit in a subjective way, which is another change to the color of the Impressionist outside, thus establishing the color of the Impressionist. The status of subjective color in oil painting. This section selects three representative painters which play an important role in the process of transformation: 1, oil painting color full of strong sense - Van Gogh; 2, the subjective mobilization independent of nature - Gao Geng; 3, the transformation of form space to color space - Cezanne, became the symbol of the change of oil painting. The second section of the oil painting color language in the spiritual level of the embodiment of the main line of the.20 century oil painting, the difference of artistic concept brings the separation of schools, the emergence of new painting language has gradually opened the diversified development of art. Oil painting has undergone great changes in the concept of color, the traditional oil painting techniques are often new art concepts. The form of intensification is even admired to the extreme of art. Spiritual pursuit is paid attention to in the formal language of oil painting. This section is mainly from the analysis of cubism and abstracism and the color language of the painters.
The fifth chapter expounds the "anaemia" of the contemporary Chinese oil painting color. The exploration and innovation of the hundred years made Chinese oil painting gradually integrate into the Chinese elements in the theme of creation. It combines the western art of oil painting with the historical background of China, culture and national aesthetic concept, which makes Chinese oil painting go to the artistic creation of self-consciousness and self-discipline. Color reduction refers to the subjective treatment of a color, usually the reduction and refinement of the original color of the object, and the creation of oil painting with one or more of the less colors. Two phenomena of monochromatic color and a decrease in color are presented. Monochromatic is a major subjectivity that began to appear after the Impressionist color of the 1850s. Sexual color and color reduction are new phenomena in the subjective color of contemporary oil paintings, especially Chinese oil paintings.
The sixth chapter mainly explains the artist's artistic attitude from the individual and the inheritance of the essence of the traditional painting color system in two aspects. The excellent oil painting is not only a copy of the realistic scene, but a photograph, but a product of artistic emotion and spiritual pursuit.
The main points of this paper are as follows:
First, color is an important language of oil painting. It has vivid expressive force and has unique meaning in oil painting creation. It is irreplaceable in other painting languages.
Second, through the change of color language in the history of oil painting, language performance, emotional expression, and then analyze the expression of color language in contemporary oil painting. With the development of the times, the creation of oil painting also appears monochromatic and monochromatic, some painter's mentality change makes the inner spirit of oil painting color lack.
Third, through the analysis of the present situation of the color of the contemporary oil painting, to understand the main reasons that the color is missing in the oil painting, to solve the fundamental problem, the realistic problem is that the color power and understanding of the Chinese contemporary oil paintings are far from home, whether it is in the color ability and interest, or the expression and grasp.
Fourth, oil painting creators should clear their own personal artistic attitude, strengthen their own self-cultivation, improve their professional level, inherit the traditional system, constantly innovate and improve the expression language of painting, strengthen the inner expressive spirit of oil painting, and do not lose in the pluralism of social development.
The shortcomings of the paper are the limitations of the information and the ability of the researchers themselves. There are many deficiencies in the paper. The main deficiencies of this paper are as follows: first, the analysis of the paper is very rough because of the large scope of the research and the limited data in history. Second, it has not been put forward in the contemporary era of the background. It is especially conducive to the development of contemporary oil painting topic selection plan.
【學(xué)位授予單位】：吉林大學(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 趙春雷;;感悟油畫主觀性色彩[J];美與時(shí)代(下半月);2009年03期
2 劉勁松;;論凡·高油畫色彩發(fā)展的三個(gè)階段[J];文教資料;2012年11期
本文編號(hào)：2125213
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