談夜景油畫的藝術(shù)特性及實(shí)踐運(yùn)用
發(fā)布時間：2019-01-05 18:55
【摘要】：風(fēng)景油畫作為繪畫題材的一種,其發(fā)展演變已有幾百年的歷史,在歷史的沉淀下,在無數(shù)人經(jīng)驗(yàn)積累總結(jié)的條件下,無論從技法上還是表現(xiàn)形式上都已有十分完備的理論與實(shí)踐基礎(chǔ)。但對風(fēng)景油畫中的夜景油畫,畫界對其獨(dú)特性及藝術(shù)表現(xiàn)缺乏關(guān)注。 夜景油畫較之與其它風(fēng)景畫有其自身的獨(dú)特性,主要表現(xiàn)在三個方面：1光源的獨(dú)特性,它多采用月光和燈光作為光源；2色相與明度的對比性,色相對比強(qiáng)烈、明度對比明顯的往往所表達(dá)的都是情感強(qiáng)烈、激情、生動、活潑的景象,而明度和強(qiáng)度對比弱的則往往表現(xiàn)朦朧、抒情、安靜的月色美；3獨(dú)特的審美性,由于夜景油畫光源和環(huán)境的因素,畫家在創(chuàng)作過程中拋開了對景色具體形象的描繪轉(zhuǎn)而尋求對畫面意境的表達(dá)或是創(chuàng)作思維中主觀映像的傳達(dá)。 對中西方夜景油畫的發(fā)展脈絡(luò)進(jìn)行梳理,了解了其藝術(shù)風(fēng)格、表現(xiàn)形式、技術(shù)特點(diǎn)的演變,并從普遍中選出三位具有代性畫家的作品進(jìn)行分析,主要從技術(shù)特點(diǎn)以及審美特點(diǎn)這兩個方面進(jìn)行深入細(xì)致的觀察。這三位畫家分別是梵高、吳冠中、顏文梁,他們的畫作技法成熟且極富個人特點(diǎn)。如梵高的作品筆觸強(qiáng)烈,藍(lán)與黃強(qiáng)烈的色彩對比,是強(qiáng)烈情感的表達(dá)者；吳冠中追求表現(xiàn)夜晚朦朧、安靜和在黑暗中泛出的點(diǎn)點(diǎn)星光,是寫意與表現(xiàn)的完美結(jié)合者；顏文梁的作品其選材的時間段往往是太陽光還未完全退去而月亮已明亮的掛在天空中之時,此時既能看清自然的景色又能借助月亮表達(dá)寧靜抒情的感受,他是寧靜與抒情的締造者。 在經(jīng)過對夜景油畫名作的大量分析之后我決定將理論運(yùn)用于實(shí)踐當(dāng)中去,畫一批關(guān)于夜景的創(chuàng)作,并結(jié)合創(chuàng)作談?wù)剬σ咕坝彤嫷恼J(rèn)識,以及在創(chuàng)作過程中碰到的困難和解決辦法。最后通過對現(xiàn)有作品的分析對未來夜景油畫發(fā)展作一個展望,并對其發(fā)展方向有一個主觀性的判斷。
[Abstract]:Landscape oil painting as a painting subject matter, its development and evolution has been hundreds of years of history, in the precipitation of history, under the conditions of countless people's experience accumulation and summary, Both from the technique and the form of expression have a very complete theoretical and practical basis. But to the night scene oil painting in the landscape oil painting, the painting circles lacks the attention to its uniqueness and artistic expression. Compared with other landscape paintings, night oil painting has its own uniqueness, mainly in three aspects: 1 the uniqueness of light source, it mostly uses moonlight and light as light source; (2) contrast of hue and brightness, strong contrast of hue, obvious contrast of brightness often expresses strong emotion, passion, vividness and lively scene, while weak contrast of brightness and intensity often shows vague and lyric feelings, Quiet moonlight beauty; Due to the factors of light source and environment of the night scene oil painting, the painter put aside the description of the specific image of the scenery and sought to express the artistic conception of the picture or convey the subjective image in the creative thinking in the process of creation. Combing the development of night oil paintings in China and the West, understanding the evolution of their artistic style, forms of expression, and technical characteristics, and selecting three works of generation painters from the general public for analysis. Mainly from the technical characteristics and aesthetic characteristics of these two aspects of in-depth and meticulous observation. The three painters are Van Gogh, Wu Guanzhong, and Yan Wenliang. Such as Van Gogh's strong brush strokes, blue and yellow strong color contrast, is a strong expression of emotion, Wu Guanzhong pursuit of the performance of the night hazy, quiet and in the darkness of the dots of starlight, is the perfect combination of freehand brushwork and performance; Yan Wenliang's works often have a period of time when the sun's light has not completely receded and the moon is brightly hanging in the sky. At this time, the natural scenery can be seen and the peaceful and lyrical feelings can be expressed with the help of the moon. He was the architect of serenity and lyricism. After a great deal of analysis of the famous paintings of night scenes, I decided to apply my theory to practice, to draw a lot of works about night scenes, and to talk about my understanding of night oil paintings in the light of creation. And in the creative process encountered difficulties and solutions. Finally, through the analysis of the existing works, the future development of night scene oil painting is prospected, and the direction of its development has a subjective judgment.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213
本文編號：2402171
[Abstract]:Landscape oil painting as a painting subject matter, its development and evolution has been hundreds of years of history, in the precipitation of history, under the conditions of countless people's experience accumulation and summary, Both from the technique and the form of expression have a very complete theoretical and practical basis. But to the night scene oil painting in the landscape oil painting, the painting circles lacks the attention to its uniqueness and artistic expression. Compared with other landscape paintings, night oil painting has its own uniqueness, mainly in three aspects: 1 the uniqueness of light source, it mostly uses moonlight and light as light source; (2) contrast of hue and brightness, strong contrast of hue, obvious contrast of brightness often expresses strong emotion, passion, vividness and lively scene, while weak contrast of brightness and intensity often shows vague and lyric feelings, Quiet moonlight beauty; Due to the factors of light source and environment of the night scene oil painting, the painter put aside the description of the specific image of the scenery and sought to express the artistic conception of the picture or convey the subjective image in the creative thinking in the process of creation. Combing the development of night oil paintings in China and the West, understanding the evolution of their artistic style, forms of expression, and technical characteristics, and selecting three works of generation painters from the general public for analysis. Mainly from the technical characteristics and aesthetic characteristics of these two aspects of in-depth and meticulous observation. The three painters are Van Gogh, Wu Guanzhong, and Yan Wenliang. Such as Van Gogh's strong brush strokes, blue and yellow strong color contrast, is a strong expression of emotion, Wu Guanzhong pursuit of the performance of the night hazy, quiet and in the darkness of the dots of starlight, is the perfect combination of freehand brushwork and performance; Yan Wenliang's works often have a period of time when the sun's light has not completely receded and the moon is brightly hanging in the sky. At this time, the natural scenery can be seen and the peaceful and lyrical feelings can be expressed with the help of the moon. He was the architect of serenity and lyricism. After a great deal of analysis of the famous paintings of night scenes, I decided to apply my theory to practice, to draw a lot of works about night scenes, and to talk about my understanding of night oil paintings in the light of creation. And in the creative process encountered difficulties and solutions. Finally, through the analysis of the existing works, the future development of night scene oil painting is prospected, and the direction of its development has a subjective judgment.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 羅爾純;談繪畫的鄉(xiāng)土味[J];美術(shù)研究;1983年01期
2 楊志紅;西方風(fēng)景畫發(fā)展線索[J];邢臺職業(yè)技術(shù)學(xué)院學(xué)報;2001年04期
，本文編號：2402171
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