论维亚尔的透底画对我绘画创作的启示
发布时间：2019-03-05 19:39
【摘要】：纳比派的主将爱德华·维亚尔于1890-1915年间绘制了大量运用"透底"技法完成的作品,这一时期的"透底"作品在风格上明显区别于维亚尔在其他时期的画作。本文将以维亚尔的透底画为切入点,分析这类绘画的特点和技巧,并进一步探讨这类绘画与现代主义绘画逻辑的关系是怎样的。本文第二章有两个核心论点,即现代主义绘画与古典绘画或写实绘画的区别在于两个方面,其一,古典的写实绘画着重考察描绘的形象与现实形象之间的模仿关系是否准确,而现代主义绘画则把目光转向绘画语言本身;其二,古典的写实绘画将画面底色作为一种消极因素来对待,因此写实的画家用颜料(艺术媒介)来覆盖画布底色(艺术媒介),而现代主义画家如维亚尔却将画布底色(艺术媒介)视为一种积极因素来对待,他将画面的底色毫无保留地暴露出来并且让底色担当起造型的任务。第三章则围绕本人对透底画技法的学习过程分析本人的绘画创作,从构图、色彩、技法等方面谈本人对透底画技法的学习,并总结透底画技法对我绘画创作的启示。
[Abstract]:In 1890 and 1915, Nabi chief Edward Viar drew a great deal of work using "divulsion" techniques, a period in which the "diaphanous" works were significantly different in style from Viar's paintings in the rest of the period. Based on Viar's perspective painting, this paper analyzes the characteristics and skills of this kind of painting, and further discusses the relationship between this kind of painting and the logic of modernist painting. The second chapter of this paper has two core arguments, that is, the difference between modernist painting and classical painting or realistic painting lies in two aspects. First, the classical realistic painting focuses on examining whether the imitation relationship between the portrayed image and the realistic image is accurate or not. On the other hand, modernist painting turns its attention to the language of painting itself; Second, classical realistic painting treats the background as a negative factor, so realistic painters use paint (artistic media) to cover the canvas background (artistic media). Modernist painters, such as Viar, treat the canvas background as a positive factor, exposing it unreservedly and putting the background to the task of styling. The third chapter analyses my painting creation around the learning process of the penetrating painting technique, discusses my study of the penetrating painting technique from the aspects of composition, color and technique, and sums up the enlightenment of the penetrating painting technique to my painting creation.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
，
本文编号：2435221
[Abstract]:In 1890 and 1915, Nabi chief Edward Viar drew a great deal of work using "divulsion" techniques, a period in which the "diaphanous" works were significantly different in style from Viar's paintings in the rest of the period. Based on Viar's perspective painting, this paper analyzes the characteristics and skills of this kind of painting, and further discusses the relationship between this kind of painting and the logic of modernist painting. The second chapter of this paper has two core arguments, that is, the difference between modernist painting and classical painting or realistic painting lies in two aspects. First, the classical realistic painting focuses on examining whether the imitation relationship between the portrayed image and the realistic image is accurate or not. On the other hand, modernist painting turns its attention to the language of painting itself; Second, classical realistic painting treats the background as a negative factor, so realistic painters use paint (artistic media) to cover the canvas background (artistic media). Modernist painters, such as Viar, treat the canvas background as a positive factor, exposing it unreservedly and putting the background to the task of styling. The third chapter analyses my painting creation around the learning process of the penetrating painting technique, discusses my study of the penetrating painting technique from the aspects of composition, color and technique, and sums up the enlightenment of the penetrating painting technique to my painting creation.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
，
本文编号：2435221
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