發(fā)布時(shí)間：2018-11-15 16:25

【摘要】：本研究以十九世紀(jì)西班牙藝術(shù)家華金·索羅利亞和二十世紀(jì)美國(guó)當(dāng)代藝術(shù)家艾瑞克·費(fèi)舍爾作為研究對(duì)象，通過(guò)對(duì)兩位藝術(shù)家風(fēng)格迥異的海灘題材作品進(jìn)行對(duì)比分析，試圖尋找出兩者作品在繪畫(huà)形式語(yǔ)言的差異以及兩者藝術(shù)精神的不同。文章首先通過(guò)分析兩位藝術(shù)家作品的繪畫(huà)形式語(yǔ)言，并運(yùn)用圖像學(xué)，比較學(xué)以及心理學(xué)等科學(xué)方法，探究?jī)烧咦髌吩跇?gòu)圖、造型、筆觸、色彩四個(gè)方面的差異。然后，分別論述了兩位藝術(shù)家在精神訴求上的不同。華金·索羅利亞的藝術(shù)精神在于對(duì)故鄉(xiāng)巴倫西亞海邊生活的贊美和歌頌，而艾瑞克·費(fèi)舍爾的藝術(shù)精神則是對(duì)特定階層（美國(guó)中產(chǎn)階級(jí)）的客觀狀態(tài)以及精神世界的記錄與反省。同時(shí)，本研究還論述了兩位藝術(shù)家各自的藝術(shù)教育背景以及藝術(shù)經(jīng)歷，并通過(guò)分析兩位藝術(shù)家所立足的時(shí)代特征和藝術(shù)大環(huán)境，分別闡述了繪畫(huà)發(fā)展背景對(duì)兩者產(chǎn)生的影響，進(jìn)而揭示出華金·索羅利亞與艾瑞克·費(fèi)舍爾的海灘題材繪畫(huà)產(chǎn)生差異的根源。針對(duì)比較后得到的價(jià)值和啟示，筆者仍以?xún)晌凰囆g(shù)家為例，由小見(jiàn)大，，從作品形式語(yǔ)言的選擇與藝術(shù)家精神訴求的關(guān)系，以及對(duì)藝術(shù)創(chuàng)新的思考兩個(gè)方面進(jìn)行了簡(jiǎn)要的概括和梳理，并總結(jié)出自己的一些心得，希望能為自己今后的學(xué)習(xí)和藝術(shù)創(chuàng)作帶來(lái)一定的指導(dǎo)意義。
[Abstract]:In this study, Spanish artist Joaquin Soloria in 19th century and American contemporary artist Eric Fischer in 20th century were taken as the research objects, and the two artists' works of beach subject matter with different styles were compared and analyzed. This paper tries to find out the difference between the two works in the painting form language and the artistic spirit. Firstly, by analyzing the painting form language of the two artists' works, and using the scientific methods of graphology, comparision and psychology, this paper probes into the differences between the two works in four aspects: composition, modeling, stroke and color. Then, it discusses the difference between the two artists in the spiritual appeal. Joaquin Soloria's artistic spirit lies in the praise and praise of the seaside life in his hometown of Valencia. Eric Fisher's artistic spirit is the record and introspection of the specific class (American middle class) and the spiritual world. At the same time, this study also discusses the two artists' respective art education background and art experience, and through the analysis of the two artists based on the characteristics of the times and the art environment, respectively elaborated the painting development background on both the impact of the two. The differences between Joaquin Sololia and Erik Fischer's beach paintings are revealed. In view of the value and inspiration obtained from the comparison, the author still takes two artists as an example, from the perspective of Xiaowei, from the relationship between the choice of the formal language of the work and the spiritual appeal of the artist. The author summarizes and combs the two aspects of artistic innovation, and sums up some of his own experiences, hoping to bring certain guiding significance for his future study and artistic creation.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J205

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1 關(guān)曉輝;菲謝爾的寫(xiě)實(shí)繪畫(huà)與美國(guó)人的現(xiàn)代生活[J];藝術(shù)探索;2002年04期

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