【摘要】：俞曉夫作為中國油畫界經(jīng)歷過傷痕藝術(shù)，鄉(xiāng)土現(xiàn)實(shí)主義，新古典主義，新生代，和非架上繪畫“三朝元老”式的人物，在中國油畫界特別是上海油畫界都占有舉足輕重的地位。當(dāng)架上繪畫在現(xiàn)代藝術(shù)的質(zhì)疑、挑戰(zhàn)下，患了失語癥，當(dāng)大多數(shù)的藝術(shù)家因種種原因而對具象繪畫失去了耐心時(shí)，許多曾經(jīng)叱咤于國內(nèi)美術(shù)界的風(fēng)云人物也漸漸失去了革命目標(biāo)，作品的興奮度和銳利性隨即逝去。不少“豪杰”在中國文化激烈的轉(zhuǎn)型期棄暗投明，改換門庭。 大多數(shù)人在文化的流變過程中，心安理得的降伏在“市場終結(jié)”的歸宿里。而俞曉夫始終堅(jiān)持著架上繪畫路線，他的油畫作品不但沒有受阻而且盤活了。這要?dú)w結(jié)于他那獨(dú)特的油畫語言，他那既寫實(shí)又意象的畫面和銳利而又灑脫的筆觸，既豐富深厚的內(nèi)涵，又有深邃飄逸的境界，那種幽默感，神經(jīng)質(zhì)，苦澀味，以及中西文化的涵養(yǎng)，盡在畫面圖畫的構(gòu)成之中。 從五六十年代開始，中國畫壇形式紛呈，新人輩出，俞曉夫正是在這個(gè)歷史時(shí)期完成著自己架上繪畫那荒誕，遐遠(yuǎn)的夢，他是一個(gè)面對著時(shí)代不肯背過臉去的人，他繼續(xù)舉起手，向那段經(jīng)典文化致敬。他站在寫實(shí)的陣地，關(guān)注現(xiàn)代藝術(shù)，揣摩著其內(nèi)在的真諦。本文借助于俞曉夫大量的油畫作品，，從客觀因素（第一章），外在因素（第二章），內(nèi)在因素（第三章），深入詳細(xì)的分析他的個(gè)人獨(dú)特的油畫語言。
[Abstract]:Yu Xiaofu , as the Chinese oil painting circle , has experienced the characters of " Three Pilgrims " in China ' s oil painting circles , especially in Shanghai oil painting circles . When most of the artists have lost patience with painting in modern art , many of the artists who have been chimed at the national art world have lost their revolutionary goals , and the excitement and sharpness of the works have disappeared . Many of the " heroes " have abstained in the fierce transformation of China ' s culture and changed their courts .

In the course of the cultural change , most people are in the end of the market . Yu Xiaofu always insists on the painting line on the shelf , and his paintings are not only hindered and coiled . This is to be attributed to his unique oil painting language , which not only has rich connotation , but also has a deep and elegant state , the sense of humor , nervousness , bitter and astringent taste , and the cultural connotation of Chinese and Western culture , as well as the composition of picture drawing .

From the 1950s to the beginning of the 1950 ' s , the form of Chinese painting circles was in the form of a new generation . Yu Xiaofu was a man who had finished painting on his shelf in this historical period . He continued to raise his hand and pay tribute to the classical culture . He stood in a realistic position to pay tribute to the classical culture . By the help of Yu Xiaofu ' s extensive oil painting works , he stood by the objective factors ( chapter I ) , external factors ( chapter II ) and internal factors ( chapter 3 ) , and analyzed his personal unique oil painting language in depth .
【學(xué)位授予單位】：海南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213

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本文編號(hào)：2127972