本文選題：女藝術(shù)家 + 克羅黛爾��； 參考：《電影文學(xué)》2009年08期

【摘要】：本文通過比較,發(fā)現(xiàn)19世紀(jì)法國女藝術(shù)家的人生經(jīng)歷與藝術(shù)發(fā)展和克羅黛爾存在著許多的相似之處——自我懷疑、職業(yè)選擇受阻、事業(yè)發(fā)展中對男藝術(shù)家有著不同程度的依附、畫面題材選擇受限……另一方面,她們同男藝術(shù)家相比,在"畫什么"與"怎樣畫"上產(chǎn)生了差異。筆者認(rèn)為這種境遇的相似與藝術(shù)表現(xiàn)的差異的產(chǎn)生并非偶然,是由客觀——社會環(huán)境、倫理道德、已存的性別對照的定型概念與主觀——相異性別的不同生理、心理體驗、視覺感受兩方面的原因共同構(gòu)成的。然而,這種差異不應(yīng)被視為藝術(shù)水平高低的依據(jù)。
[Abstract]:By comparison, it is found that there are many similarities between the life experience of French female artists in the 19th century and the development of art and Krodell-self-doubt, blocked career choices, and varying degrees of dependence on male artists in their career development. The choice of theme is limited. On the other hand, they differ from male artists in what they paint and how. The author thinks that the similarity of this kind of circumstances and the difference of artistic expression are not by accident, but by the objective social environment, ethics and morality, the existing stereotyped concept of sex contrast and the different physiological and psychological experience of subjective and different sex. The two reasons of visual perception are combined. However, such differences should not be regarded as the basis for the level of art.
【作者單位】： 臨沂師范學(xué)院美術(shù)學(xué)院;
【分類號】：J156.5

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本文編號：1864643