【摘要】：進入二十世紀以來，隨著時代的發(fā)展，各種畫壇流派開始盛行，在此同時架上繪畫被戴上了守舊的頭銜，很多藝術(shù)家開始逐步的追求時尚潮流，隨著市場經(jīng)濟的波動表現(xiàn)出困惑和無奈，在歷史的潮流中巴爾蒂斯沒有被埋沒，他是二十世紀鮮有的堅持不懈走具象主義的繪畫大師，雖然他并未接受過正規(guī)院校的教育培訓(xùn)，但是他堅持向古典主義大師學(xué)習，他以博大的情懷吸收各種有利的文化思想理念，不管是中國傳統(tǒng)的繪畫，還是日本浮世繪的裝飾，不管是文學(xué)的，還是數(shù)學(xué)幾何的，他同普桑一樣也堅信“繪畫的革新不在于一種從未見過的題材，，而在于優(yōu)秀而新穎的布置和表現(xiàn)”，本文所分析的“結(jié)構(gòu)”與“歸納”正是他對于社會生活和自然生活中普遍題材標新立異的布置表現(xiàn)方式。 所以本文通過對巴爾蒂斯繪畫的基本特征入手，逐步分析他畫面的結(jié)構(gòu)與歸納的來源以及表現(xiàn)形式在畫面中的運用，比如他將抽象形式元素融入到具象畫面的處理中，通過對體塊方向、大小比例、線的運用，以及對明暗色彩的歸納，裝飾圖案在作品中作為獨特的構(gòu)成因素，對畫面進行協(xié)調(diào)、分割、平衡的作用，從而加強了畫面的節(jié)奏感與內(nèi)在秩序感，使畫面既有張力的同時又極具穩(wěn)定感。 在他的畫面中人物間的冷漠與疏離同畫面的結(jié)構(gòu)布置使畫面具有創(chuàng)新感與現(xiàn)代感，同時他對東方文化有著濃厚的興趣與深入的探究，他的藝術(shù)作品中透視關(guān)系被削弱后，呈現(xiàn)出的平面性和裝飾性特色彰顯著獨特的東方意味和情懷。學(xué)習他讓我們對具象繪畫有更深刻的認識，同時也希望解決繪畫藝術(shù)中的困境，提升作為繪畫者應(yīng)有的藝術(shù)品質(zhì)與技藝。更希望青年藝術(shù)家能夠結(jié)合本土文化去學(xué)習研究，這將對中國未來的繪畫方向發(fā)展有一定的啟迪作用。
[Abstract]:Since the 20th century, with the development of the times, all kinds of painting schools have become popular. At the same time, painting on the shelf has been put on the old-fashioned title. Many artists have begun to pursue the fashion trend step by step. With the fluctuation of the market economy showing confusion and helplessness, Baltiz has not been buried in the tide of history. He is a painting master who is rarely seen in the 20th century, unswervingly walking on representativism, although he has not received any education and training from the formal colleges. But he insisted on learning from the masters of classicism. He absorbed all kinds of favorable cultural ideas, whether they were Chinese traditional paintings, Japanese embellishments, literature or mathematical geometry. Like Pusanne, he believed that "the innovation in painting lies not in a subject that has never been seen, but in excellent and novel arrangement and performance". The "structure" and "induction" analyzed in this paper are the expression of his creative arrangement of the common themes in social life and natural life. So this article begins with the basic features of Baltiz's paintings, and analyzes gradually the structure and inductive sources of his paintings and their application in the picture, for example, he integrates the abstract form elements into the processing of the concrete picture. Through the use of body mass direction, size ratio, line, as well as the induction of bright and dark colors, decorative patterns are used as unique composition factors in the works to coordinate, divide and balance the pictures. Thus strengthening the sense of rhythm and internal order, making the picture both tension and a sense of stability. In his paintings, the coldness and alienation between the characters and the structure of the same picture make the picture have a sense of innovation and modernity. At the same time, he has a strong interest in eastern culture and a deep exploration. After the perspective relationship in his works of art is weakened, The plane and decorative features show the unique oriental meaning and feelings. Learning from him gives us a deeper understanding of figurative painting, and at the same time, we hope to solve the plight of painting art, and to improve the artistic quality and skills of painters. It is hoped that young artists can study and study in combination with local culture, which will enlighten the future development of Chinese painting.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J205

【參考文獻】

相關(guān)期刊論文 前1條

1 ;巴爾蒂斯致北京書[J];世界美術(shù);1995年03期

本文編號：2416728