以当代艺术家为例探析绘画对影像的借用

发布时间：2018-05-31 23:46

本文选题：影像 + 机械之眼　；参考：《青岛科技大学》2017年硕士论文

【摘要】：影像是对现实的记录,是最逼近现实的事物,它是我们当代人所看到的事物的本身。在文艺复兴时期,达·芬奇已经开始使用暗箱操作,将影像运用于绘画之中,所以影像作为主要的创作资源被绘画使用,绘画和影像早已经发生了关系。其实在现当代艺术家工作之前,艺术家在意识里已经有大量的既存影像,如果还认为画家是面对着一个空白、白色的画布上工作那就错了,实际上,如今在现有画布的表面上,已经潜在地存有各种各样的零碎图像,大量的影像图片已经占领了画布。在这个科技逐渐发达的时代,影像和绘画搏斗过也较量过,两者比试之后,最终发现影像其实并不可怕,影像的发展可以推动绘画快速地前进。它们的关系既有竞争与替代,也有互文与共荣。本文是主要是以对影像再创作的形式的探索,论文主要运用了历史学、个案分析、形式分析、图像学分析和精神分析等研究方法进行研究。文章一共分为四个部分进行论述:第一部分:对影像的界定和纵向解析影像与绘画结合的历史和现状。第二部分:绘画借用影像的缘由。第三部分:分析绘画借用影像的方式以及机械之眼对当代艺术家创作的启发。第四部分:影像对我绘画创作的启发。本文举例了数名当代艺术家的范例论证了影像对绘画的推进作用大于它对绘画的冲击,科学技术进步的同时艺术的表达形式也在发生着改变。
[Abstract]:Image is the record of reality and the thing closest to reality. It is the thing we see in contemporary times. During the Renaissance, Leonardo da Vinci began to use dark boxes to use images in painting, so images were used as a major creative resource for painting, and painting and image have long been related. In fact, before the modern and contemporary artists worked, the artists already had a large number of existing images in their consciousness. It would be wrong to think that the artist was working on a blank, white canvas. In fact, today, on the surface of the existing canvas, There is a potential for a variety of fragmented images, a large number of images have occupied the canvas. In this era of gradually developed technology, the image and painting struggle have also been a contest, after the comparison between the two, finally found that the image is not really terrible, the development of the image can promote the rapid progress of painting. Their relationship is not only competition and substitution, but also intertextuality and mutual prosperity. This paper is mainly to explore the form of image re-creation, the paper mainly uses the research methods of history, case analysis, formal analysis, image analysis and psychoanalysis. The article is divided into four parts: the first part: the definition of the image and the vertical analysis of the combination of image and painting history and present situation. The second part: the reason of drawing borrowing image. The third part analyzes the way of drawing borrowing images and the inspiration of mechanical eyes to contemporary artists. The fourth part: the inspiration of the image to my painting creation. In this paper, several examples of contemporary artists are given to demonstrate that the image has a greater impact on painting than it does on painting, and that the expression of art is changing with the progress of science and technology.
【学位授予单位】：青岛科技大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

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