试论当代油画色彩的“贫血”现象
发布时间：2018-07-15 19:58
【摘要】：第一章为绪论部分，主要是对论文的选题背景，研究意义和研究内容进行简单的介绍. 第二章从油画色彩的形成出发，研究油画色彩的重要性并对其意义进行简要阐述，进而了解色彩在油画中的重要地位，最后结合现状对中国当代油画色彩的现状进行分析。 第三章在西方油画色彩体系中，固有色和条件色的运用是油画占据了重要的地位，从固有色到条件色体系的变化下对油画色彩语言进行探寻。丹培拉的使用给油画色彩语言带来了新的发展，不在拘泥于从前。随着历史的发展古典主义绘画、印象主义绘画也带来了色彩体系从固有色到条件色的变化，为油画色彩语言的探寻揭开了新篇章。 第四章主要针对在当代文化多元化影响下的当代绘画，第一节主要介绍油画色彩体系下，从客观色彩到主观色彩的转变。从后印象派开始，油画色彩是以主观表现的方式来表达画家的精神，这是对印象派外光色的又一次变革，从而确立了主观性色彩在油画中的地位。本节选取三个在转变过程中起到重要作用的三个代表画家：1、充满强烈力感的油画色彩—凡高；2、独立于自然之外的主观调动—高更；3、形体空间到色彩空间的转变—塞尚，成为了油画面貌剧变的标志。第二节以油画色彩语言在精神层次的体现为主线。20世纪的油画，艺术观念的差异带来流派的分离，新的绘画语言的产生逐渐打开了艺术的多元化发展。油画在色彩观念上发生了很大变化，传统油画中的某方面技法往往被新的艺术观念的形式强化，甚至被推崇到艺术的极端，精神性的追求在油画的形式语言上得到关注。本节主要从立体主义和抽象主义以及那比派画家的色彩语言进行分析讲述。 第五章阐述当代中国油画色彩的“贫血”，百年的探索创新使得中国油画在创作主题上逐渐融入了中国元素，把油画这门西化艺术与中国的历史背景、文化、民族审美观等等有机的结合到了一起，使中国油画走向了自觉和自律艺术创作中。色彩减化指的是一种色彩的主观处理，通常是对对象的本来色彩进行减少和提炼，用一种或几种较少的色彩进行油画创作。呈现出色彩单色化和色彩减少两种现象，，单色化是19世纪50年代印象派色彩以后开始出现的一种主要的主观性色彩，色彩减化则是当下油画特别是中国油画在主观性色彩上出现的新现象。 第六章主要阐释了画家从个人的艺术态度和对传统油画色彩体系精髓的继承两个方面，优秀的油画作品不仅仅像是现实景象的一个翻版，一个照片，而是具有艺术情感和精神追求的产物。 本文的主要观点如下： 第一，色彩是油画的重要语言，有着鲜活的表现力，在油画创作中有着独特的意蕴，是其他绘画语言不可替代的。 第二，通过对色彩语言在油画历史中的转变以及语言表现，情感表达着手，进而对当代油画色彩语言的表现形式进行分析。随着时代的发展，油画创作也出现单色画与单色化，一些画家的心态变化使得油画色彩的内在精神有所缺失。 第三，通过对当代油画色彩现状的分析，了解色彩在油画创作中缺失的主要原因，解决其根本，现实的问题是,中国当代油画作品中的色彩功力与认识还远不到家,无论是在色彩的能力与趣味性上,还是表现与把握上。 第四，油画创作者应该明确自己的个人艺术态度，加强自身修养，提高自己的专业水平，继承传统体系，不断地创新提高绘画的表现语言，加强油画创作中的内在表现精神，不迷失在社会发展的多元化中。 论文的不足之处是资料和研究者本身的能力的限制，论文会存在着很多的不足的问题。本论文的主要的不足的几个方面：第一，由于研究范围比较大而且资料比较有限本论文在历史的角度分析会很生涩。第二，未能提出在当代时代背景下，特别有利于当代油画发展的选题方案。
[Abstract]:The first chapter is the introduction, which mainly introduces the background, significance and content of the thesis.
The second chapter, starting from the formation of the color of oil painting, studies the importance of the color of oil painting and briefly expounds its significance, and then understands the important status of color in oil painting, and finally analyzes the present situation of Chinese contemporary oil painting in combination with the status quo.
The third chapter in the western oil painting color system, the use of solid colored and conditional color is the important position of oil painting, exploring the color language of oil painting from the change of solid color to the condition color system. It brings new development to the color language of oil painting, not in the past. With the history of the development of classical painting. Painting and impressionist painting also brought about changes in color system from solid color to conditional color, which opened a new chapter for the exploration of oil color language.
The fourth chapter mainly aims at the contemporary painting under the influence of contemporary cultural diversity. The first section mainly introduces the transformation of the painting color system, from the objective color to the subjective color. From the post Impressionist school, the painting color expresses the painter's spirit in a subjective way, which is another change to the color of the Impressionist outside, thus establishing the color of the Impressionist. The status of subjective color in oil painting. This section selects three representative painters which play an important role in the process of transformation: 1, oil painting color full of strong sense - Van Gogh; 2, the subjective mobilization independent of nature - Gao Geng; 3, the transformation of form space to color space - Cezanne, became the symbol of the change of oil painting. The second section of the oil painting color language in the spiritual level of the embodiment of the main line of the.20 century oil painting, the difference of artistic concept brings the separation of schools, the emergence of new painting language has gradually opened the diversified development of art. Oil painting has undergone great changes in the concept of color, the traditional oil painting techniques are often new art concepts. The form of intensification is even admired to the extreme of art. Spiritual pursuit is paid attention to in the formal language of oil painting. This section is mainly from the analysis of cubism and abstracism and the color language of the painters.
The fifth chapter expounds the "anaemia" of the contemporary Chinese oil painting color. The exploration and innovation of the hundred years made Chinese oil painting gradually integrate into the Chinese elements in the theme of creation. It combines the western art of oil painting with the historical background of China, culture and national aesthetic concept, which makes Chinese oil painting go to the artistic creation of self-consciousness and self-discipline. Color reduction refers to the subjective treatment of a color, usually the reduction and refinement of the original color of the object, and the creation of oil painting with one or more of the less colors. Two phenomena of monochromatic color and a decrease in color are presented. Monochromatic is a major subjectivity that began to appear after the Impressionist color of the 1850s. Sexual color and color reduction are new phenomena in the subjective color of contemporary oil paintings, especially Chinese oil paintings.
The sixth chapter mainly explains the artist's artistic attitude from the individual and the inheritance of the essence of the traditional painting color system in two aspects. The excellent oil painting is not only a copy of the realistic scene, but a photograph, but a product of artistic emotion and spiritual pursuit.
The main points of this paper are as follows:
First, color is an important language of oil painting. It has vivid expressive force and has unique meaning in oil painting creation. It is irreplaceable in other painting languages.
Second, through the change of color language in the history of oil painting, language performance, emotional expression, and then analyze the expression of color language in contemporary oil painting. With the development of the times, the creation of oil painting also appears monochromatic and monochromatic, some painter's mentality change makes the inner spirit of oil painting color lack.
Third, through the analysis of the present situation of the color of the contemporary oil painting, to understand the main reasons that the color is missing in the oil painting, to solve the fundamental problem, the realistic problem is that the color power and understanding of the Chinese contemporary oil paintings are far from home, whether it is in the color ability and interest, or the expression and grasp.
Fourth, oil painting creators should clear their own personal artistic attitude, strengthen their own self-cultivation, improve their professional level, inherit the traditional system, constantly innovate and improve the expression language of painting, strengthen the inner expressive spirit of oil painting, and do not lose in the pluralism of social development.
The shortcomings of the paper are the limitations of the information and the ability of the researchers themselves. There are many deficiencies in the paper. The main deficiencies of this paper are as follows: first, the analysis of the paper is very rough because of the large scope of the research and the limited data in history. Second, it has not been put forward in the contemporary era of the background. It is especially conducive to the development of contemporary oil painting topic selection plan.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
本文编号：2125213
[Abstract]:The first chapter is the introduction, which mainly introduces the background, significance and content of the thesis.
The second chapter, starting from the formation of the color of oil painting, studies the importance of the color of oil painting and briefly expounds its significance, and then understands the important status of color in oil painting, and finally analyzes the present situation of Chinese contemporary oil painting in combination with the status quo.
The third chapter in the western oil painting color system, the use of solid colored and conditional color is the important position of oil painting, exploring the color language of oil painting from the change of solid color to the condition color system. It brings new development to the color language of oil painting, not in the past. With the history of the development of classical painting. Painting and impressionist painting also brought about changes in color system from solid color to conditional color, which opened a new chapter for the exploration of oil color language.
The fourth chapter mainly aims at the contemporary painting under the influence of contemporary cultural diversity. The first section mainly introduces the transformation of the painting color system, from the objective color to the subjective color. From the post Impressionist school, the painting color expresses the painter's spirit in a subjective way, which is another change to the color of the Impressionist outside, thus establishing the color of the Impressionist. The status of subjective color in oil painting. This section selects three representative painters which play an important role in the process of transformation: 1, oil painting color full of strong sense - Van Gogh; 2, the subjective mobilization independent of nature - Gao Geng; 3, the transformation of form space to color space - Cezanne, became the symbol of the change of oil painting. The second section of the oil painting color language in the spiritual level of the embodiment of the main line of the.20 century oil painting, the difference of artistic concept brings the separation of schools, the emergence of new painting language has gradually opened the diversified development of art. Oil painting has undergone great changes in the concept of color, the traditional oil painting techniques are often new art concepts. The form of intensification is even admired to the extreme of art. Spiritual pursuit is paid attention to in the formal language of oil painting. This section is mainly from the analysis of cubism and abstracism and the color language of the painters.
The fifth chapter expounds the "anaemia" of the contemporary Chinese oil painting color. The exploration and innovation of the hundred years made Chinese oil painting gradually integrate into the Chinese elements in the theme of creation. It combines the western art of oil painting with the historical background of China, culture and national aesthetic concept, which makes Chinese oil painting go to the artistic creation of self-consciousness and self-discipline. Color reduction refers to the subjective treatment of a color, usually the reduction and refinement of the original color of the object, and the creation of oil painting with one or more of the less colors. Two phenomena of monochromatic color and a decrease in color are presented. Monochromatic is a major subjectivity that began to appear after the Impressionist color of the 1850s. Sexual color and color reduction are new phenomena in the subjective color of contemporary oil paintings, especially Chinese oil paintings.
The sixth chapter mainly explains the artist's artistic attitude from the individual and the inheritance of the essence of the traditional painting color system in two aspects. The excellent oil painting is not only a copy of the realistic scene, but a photograph, but a product of artistic emotion and spiritual pursuit.
The main points of this paper are as follows:
First, color is an important language of oil painting. It has vivid expressive force and has unique meaning in oil painting creation. It is irreplaceable in other painting languages.
Second, through the change of color language in the history of oil painting, language performance, emotional expression, and then analyze the expression of color language in contemporary oil painting. With the development of the times, the creation of oil painting also appears monochromatic and monochromatic, some painter's mentality change makes the inner spirit of oil painting color lack.
Third, through the analysis of the present situation of the color of the contemporary oil painting, to understand the main reasons that the color is missing in the oil painting, to solve the fundamental problem, the realistic problem is that the color power and understanding of the Chinese contemporary oil paintings are far from home, whether it is in the color ability and interest, or the expression and grasp.
Fourth, oil painting creators should clear their own personal artistic attitude, strengthen their own self-cultivation, improve their professional level, inherit the traditional system, constantly innovate and improve the expression language of painting, strengthen the inner expressive spirit of oil painting, and do not lose in the pluralism of social development.
The shortcomings of the paper are the limitations of the information and the ability of the researchers themselves. There are many deficiencies in the paper. The main deficiencies of this paper are as follows: first, the analysis of the paper is very rough because of the large scope of the research and the limited data in history. Second, it has not been put forward in the contemporary era of the background. It is especially conducive to the development of contemporary oil painting topic selection plan.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
【参考文献】
相关期刊论文 前2条
1 赵春雷;;感悟油画主观性色彩[J];美与时代(下半月);2009年03期
2 刘劲松;;论凡·高油画色彩发展的三个阶段[J];文教资料;2012年11期
本文编号：2125213
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