纳比派绘画色彩的形式美研究

发布时间：2018-05-02 13:22

本文选题：纳比派 + 勃纳尔　；参考：《扬州大学》2014年硕士论文

【摘要】：大自然因色彩的装扮而更加绚丽缤纷,心灵亦因色彩的传达才能突显它更多的美。自然界中存在真实的色彩,人的内心世界有隐晦的色彩,人类的复杂情感可通过色彩来传达,让观者体味其中的喜怒哀伤。艺术源于生活,却又不是对现实生活地简单复现,而是经过艺术家们的主观处理,将个人的思想情感融入到所展现的内容中。在今天笔者所研究的这一课题上,来自于法国纳比派的艺术家们就真正的做到了这一点,其中最具代表性的画家要属皮埃尔·勃纳尔和爱德华·维亚尔。在艺术发展进程中,纳比派的艺术家们综合性的探讨和支持了象征主义和印象主义的理念,并将抛弃一切学院派的教条做为使命,运用单纯的变形法则,强调对自然进行重新安排,突显了其绘画作品的象征性和综合性、主观性和写意性以及平面性和装饰性等特征；在绘画形式方面,他们摒弃了当时法国官方艺术中僵硬的绘画表现手法,运用意象朦胧的色彩、的内景题材以及沉着质朴的特殊材料,创作出了一系列色调柔和,富有韵律感的作品。但就笔者目前所整理的资料看,关于纳比派绘画的理论著作尤其是色彩方面的论述却相对较少,有的也只是做了个别画家的个案分析。为此,笔者觉得有必要进一步对纳比派和其独特的色彩艺术进行力所能及的思考和探索。本文,笔者以美学理论为指导,运用社会学、图像学等研究方法在归纳概括出纳比派产生的背景原因以及绘画主要特征的基础之上,着重以勃纳尔和维亚尔的绘画作品为例,从物象造型、空间表现、表现技巧以及基调形式四个方面,结合色相、明度、纯度、面积、材料等形式语言要素综合探索纳比派绘画色彩的形式美,进而揭示出其画面色彩的精髓及其对后世的启示与意义,以期人们可以更为全面地理解纳比派的绘画艺术并且也为自身的油画创作提供借鉴。
[Abstract]:Nature is more colorful because of the color, and the heart is more beautiful because of the color. There are real colors in nature and subtle colors in people's inner world. The complex emotions of human beings can be conveyed by color, which makes the viewer appreciate the joy, anger and sadness. Art originates from life, but it is not a simple reproduction of real life, but through the subjective treatment of artists, the personal thoughts and feelings are integrated into the displayed content. On the subject studied by the author today, the artists from the Nabi school of France have really done this, and the most representative painters are Pierre Bonnard and Edward Villar. In the process of artistic development, the Nabidist artists have comprehensively discussed and supported the concepts of symbolism and impressionism, and made it their mission to abandon the dogma of all academicians and to apply the simple law of transformation. Emphasizing the rescheduling of nature, highlighting the symbolism and comprehensiveness of his paintings, subjectivity and freehand brushwork, planarity and decoration, etc., in the form of painting, They abandoned the stiff expression of painting in the French official art at that time, and created a series of soft and rhythmic works by using the dim color of the image, the theme of interior scene and the special material of calm and simplicity. But according to the data that the author collates at present, the theoretical works on Nabidist painting, especially the color aspect, are relatively few, some of them are only the case analysis of individual painters. Therefore, I think it is necessary to further think and explore Nabiism and its unique color art. In this paper, under the guidance of aesthetic theory, using sociology, graphology and other research methods, on the basis of summing up the background reasons of Nabidism and the main characteristics of painting, the author emphatically takes Bonnard and Weyar's paintings as examples. From the four aspects of image modeling, space expression, expression technique and tone form, combined with hue, brightness, purity, area, material and other formal language elements, this paper explores the formal beauty of Nabidist painting colors. Furthermore, it reveals the essence of the painting color and its enlightenment and significance to later generations, in order that people can fully understand the painting art of Nabiism and also provide reference for their own oil painting creation.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.9

【参考文献】