皈依自然—从布赖德灵顿系列作品看霍克尼的绘画艺术
发布时间：2018-11-06 13:11
【摘要】：大卫·霍克尼(David Hockney,1937-),是至今活跃在西方艺术界对当今国际画坛最具影响力的大师之一。上世纪六十年代,从英国皇家艺术学院毕业的霍克尼开始在艺术界崭露头角,并于1964年移居美国洛杉矶,期间他创作了《大水花》、《克拉克夫妇和珀西》、《梨花盛开的高速公路》等一系列著名的作品。九十年代,当老友乔纳森·西尔沃和艺术家的母亲相继去世后,霍克尼开始比较多的呆在故乡布赖德灵顿。这里的原野、树林和乡村成为了他艺术创作主要的灵感来源。本文旨在将大卫·霍克尼在英国约克郡布赖德灵顿等地区所创作的一系列风景作品作为典型进行研究,通过艺术家从60年代至今绘画艺术的变化为线索,探究霍克尼绘画艺术丰富多变的形式,追溯其绘画语言的思想来源。同时挖掘艺术家绘画作品的艺术理念及其精神性的追求,论述“霍克尼元素”对艺术学习与创作带来的启迪。论文分为四个章节,第一章为霍克尼艺术的演变轨迹。首先是对艺术家在上世纪六十年代移民美国期间的艺术历程作了综述。其次是九十年代霍克尼回到故乡约克郡,回归自然题材创作的布赖德灵顿系列作品的简述。论文的第二章分别从空间、色彩和符号化的表现三个方面分析霍克尼作品的形式语言构建,主要运用对比的手法将较有代表性的作品同霍克尼的作品相比较,旨在发现和明确霍克尼艺术的形式语言要素。第三章是在前一章对作品形式分析的基础上对霍克尼作品艺术理念的解析,笔者从三个方面论述。首先是霍克尼对待传统的态度,作为从上世纪抽象表现主义浪潮中走过来的艺术家,霍克尼在新主义、新形式盛行的年代没有一味的迎合当下冷落传统,而是冷静的观察思考,从传统中汲取养分充实自己的艺术。其次是霍克尼实验多样的艺术精神,霍克尼自学生时代就极为推崇毕加索,他自己的艺术生涯也像毕加索一般丰富多变,在抽象表现主义、自然主义倾向的写实创作、摄影术以及新媒体创作等领域霍克尼都有自己的建树。第三个方面可以说是布赖德灵顿系列作品的精神内核,是暮年回归故里的艺术家面对儿时曾熟悉今夕又陌生的景物时对自然和生命的感悟,霍克尼将人性寓于自然的草木之间,“天人合一”式的表达形式也正是艺术家对自然“皈依”精神的所在。第四章是论述“霍克尼元素”的影响,首先是笔者从自身角度论述霍克尼艺术在本人艺术创作学习中的启示,笔者尤为推崇霍克尼实验多样的艺术精神,耄耋之年的他从未停止过艺术探索的脚步,他的视野仍像孩童般纯真对所见充满着兴趣。再者是笔者通过对霍克尼艺术的研究,对它给当代绘画发展带来的影响作出尝试性分析与预判。
[Abstract]:David Hockney,1937- is one of the most influential masters in the western art world. Hockney, who graduated from the Royal Academy of Art in the 1960s, began to make his mark in the art world and moved to Los Angeles in 1964, where he created the Great Waterflower, the Clarks and Percy. A series of famous works, such as the Expressway with Pear blossoms. In the 1990 s, when his old friend Jonathan Silvo and the artist's mother died, Hockney began to spend more time in his hometown of Bradlington. The fields, woods and villages were the main inspiration for his artistic creation. The purpose of this paper is to study a series of landscape works created by David Hockney in Brideslington, Yorkshire, England, as a typical example, and through the artist's changes in painting art from the 1960s to the present as a clue. This paper explores the rich and changeable forms of Hockney's painting art and traces the ideological source of his painting language. At the same time, it excavates the artistic idea and spiritual pursuit of artist's painting works, and discusses the inspiration of "Hawkney element" to art study and creation. The thesis is divided into four chapters. The first chapter is the evolution of Hockney's art. First of all, it summarizes the artistic process of the artists during their emigration to the United States in the 1960's. The second is the 1990 s when Hockney returned to his native Yorkshire and back to a brief account of the Briderlington series. The second chapter analyzes the form language construction of Hockney's works from three aspects of space, color and symbolization, and compares the more representative works with Hockney's works by means of contrast. The purpose of this paper is to discover and clarify the formal language elements of Hockney's art. The third chapter is the analysis of Hockney's works on the basis of the previous chapter. First of all, Hockney's attitude towards tradition. As an artist coming from the wave of abstract expressionism in the last century, Hockney did not blindly cater to the current neglect of tradition in the era of neocrism and new forms, but observed and pondered calmly. Enrich one's art by drawing nutrients from tradition. The second is the varied artistic spirit of Hockney's experiments. Hockney has highly respected Picasso since he was a student, and his own artistic career is as rich and changeable as Picasso, in the realistic creation of abstract expressionism and naturalistic tendencies. Photography and new media creation and other areas of Hockney have their own achievements. The third aspect can be said to be the spiritual core of the Briderlington series. It is the perception of nature and life by the artists who returned to their hometown in the face of the familiar and unfamiliar scenery of today's evening when they were children. Hockney put human nature among the trees and grass of nature. The expression of "the unity of nature and man" is exactly where the artist's spirit of "conversion" to nature lies. The fourth chapter discusses the influence of "Hockney elements", first of all, the author discusses the inspiration of Hockney art in his artistic creation study from his own angle, and the author especially advocates the various artistic spirit of Hockney's experiment. As an octogenarian, he never stopped exploring art, and his vision was as pure as a child interested in what he saw. Furthermore, through the research of Hockney's art, the author tries to analyze and prejudge the influence of Hockney's art on the development of contemporary painting.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J205
本文编号：2314376
[Abstract]:David Hockney,1937- is one of the most influential masters in the western art world. Hockney, who graduated from the Royal Academy of Art in the 1960s, began to make his mark in the art world and moved to Los Angeles in 1964, where he created the Great Waterflower, the Clarks and Percy. A series of famous works, such as the Expressway with Pear blossoms. In the 1990 s, when his old friend Jonathan Silvo and the artist's mother died, Hockney began to spend more time in his hometown of Bradlington. The fields, woods and villages were the main inspiration for his artistic creation. The purpose of this paper is to study a series of landscape works created by David Hockney in Brideslington, Yorkshire, England, as a typical example, and through the artist's changes in painting art from the 1960s to the present as a clue. This paper explores the rich and changeable forms of Hockney's painting art and traces the ideological source of his painting language. At the same time, it excavates the artistic idea and spiritual pursuit of artist's painting works, and discusses the inspiration of "Hawkney element" to art study and creation. The thesis is divided into four chapters. The first chapter is the evolution of Hockney's art. First of all, it summarizes the artistic process of the artists during their emigration to the United States in the 1960's. The second is the 1990 s when Hockney returned to his native Yorkshire and back to a brief account of the Briderlington series. The second chapter analyzes the form language construction of Hockney's works from three aspects of space, color and symbolization, and compares the more representative works with Hockney's works by means of contrast. The purpose of this paper is to discover and clarify the formal language elements of Hockney's art. The third chapter is the analysis of Hockney's works on the basis of the previous chapter. First of all, Hockney's attitude towards tradition. As an artist coming from the wave of abstract expressionism in the last century, Hockney did not blindly cater to the current neglect of tradition in the era of neocrism and new forms, but observed and pondered calmly. Enrich one's art by drawing nutrients from tradition. The second is the varied artistic spirit of Hockney's experiments. Hockney has highly respected Picasso since he was a student, and his own artistic career is as rich and changeable as Picasso, in the realistic creation of abstract expressionism and naturalistic tendencies. Photography and new media creation and other areas of Hockney have their own achievements. The third aspect can be said to be the spiritual core of the Briderlington series. It is the perception of nature and life by the artists who returned to their hometown in the face of the familiar and unfamiliar scenery of today's evening when they were children. Hockney put human nature among the trees and grass of nature. The expression of "the unity of nature and man" is exactly where the artist's spirit of "conversion" to nature lies. The fourth chapter discusses the influence of "Hockney elements", first of all, the author discusses the inspiration of Hockney art in his artistic creation study from his own angle, and the author especially advocates the various artistic spirit of Hockney's experiment. As an octogenarian, he never stopped exploring art, and his vision was as pure as a child interested in what he saw. Furthermore, through the research of Hockney's art, the author tries to analyze and prejudge the influence of Hockney's art on the development of contemporary painting.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J205
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