【摘要】：畫面中背景與主體的關(guān)系怎樣處理,是每一個(gè)繪畫者都會(huì)面對的問題。論文首先給兩者一個(gè)恰當(dāng)?shù)亩x,之后通過貫穿西方美術(shù)史中大師的典型作品,分析這些作品中的成功處理方式;對不同時(shí)期大師的作品進(jìn)行比較,找出不同時(shí)期作品之間在處理方法及表現(xiàn)目的的差異,并淺析其形成原因。文中結(jié)合當(dāng)代藝術(shù)家處理背景與主體關(guān)系的典型作品,加以分析理解;并找出影響兩者關(guān)系的其他重要因素進(jìn)行推敲。最后,結(jié)合自己的創(chuàng)作經(jīng)歷和作品講述自己對于此論點(diǎn)的理解。
[Abstract]:How to deal with the relationship between background and subject in the picture is a problem that every painter will face. Firstly, the paper gives a proper definition of the two, and then analyzes the successful handling of these works through the typical works of the masters in the western art history. This paper compares the works of the masters of different periods, finds out the differences in the processing methods and the performance purposes between the works of different periods, and analyzes the reasons for their formation. Based on the typical works of contemporary artists dealing with the relationship between background and subject, this paper analyzes and understands, and finds out other important factors that affect the relationship between them. Finally, combine own creation experience and the work narrates oneself to this argument understanding.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王圓明;;論油畫中邊緣線的認(rèn)識[J];美術(shù)大觀;2006年03期

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本文編號：2359312