论光和色在印象派绘画中的作用

发布时间：2018-06-12 18:19

本文选题：光和色 + 西方绘画　；参考：《辽宁师范大学》2015年硕士论文

【摘要】：光和色在西方绘画的发展与变革中扮演着最重要的角色,它们作为一种特殊的绘画语言一直伴随着西方绘画经历了无数个发展历程,直到今天。每个不同的时期,光和色在绘画中的作用不同,被画家重视的程度也不相同。本文首先分析了光和色在西方绘画中的作用。分别从中世纪的宗教艺术,光和色具有象征意义,并非具有其本身的特性,只是作为一种精神符号出现在画面中,是神圣的语言;到了文艺复兴时期,冲破了中世纪宗教思想的束缚,艺术作品也更加接近自然,光和色不再是被用来作为象征性的手段,而是作为一种无足轻重的艺术语言出现在画面中;17、18世纪的绘画,越来越注重用光来营造画面效果、烘托画面的气氛。新古典主义的色彩是建立在素描基础上的,光在新古典主义绘画中依然是被用来衬托画面;盛行于19世纪上半叶的浪漫主义推翻了古典主义绘画的程式,他们走出画室面向大自然,画面注重光和色的变化,用饱满的颜色来抒发自己的内心情感。其次分析了光和色在印象派、新印象派绘画语言中发挥的作用。19世纪,随着自然科学的不断发展,印象派画家将实践与光色理论结合,走出画室,追求光色的瞬间印象、素描观念的转变改变了艺术的死寂、环境色的运用使印象派的绘画更加丰富多彩、阴影不再是灰暗的褐色与黑色、忽略物体的轮廓线和形体塑造、用灵动自由的笔触和形状各异的色点来描绘画面,使印象派的绘画生动、形象、富有生机,带给我们一种全新的视觉盛宴。以马奈、莫奈、雷诺阿、德加为例论述了印象派画家绘画语言中光和色的新形式;新印象派绘画在颜色上沿袭印象派的用色技巧,以科学的色彩理论为指导来进行作画,用小色点把原色直接点到画布上,形成色彩的视觉混合效果。以修拉为例论述了新印象派绘画光和色的理性表达。最后分析了后印象派对光和色的主观表现。随着社会的不断发展进步,光和色成为画家表达自己主观情感的最主要元素,后印象派绘画还受到东方艺术的影响,作品表达了画家主观情感的同时,使得作品更具表现性、装饰性、象征性。以塞尚、凡高、高更为例论述了后印象派画家对光色的个性化表达。
[Abstract]:Light and color play the most important role in the development and transformation of western painting. As a special painting language, they have been accompanied by numerous development processes of Western painting until today. At different times, light and color play different roles in painting and are valued differently by painters. This paper first analyzes the role of light and color in Western painting. From the religious art of the Middle Ages, light and color were symbolic, not of their own character, but merely appeared in the picture as a spiritual symbol, a sacred language, to the Renaissance, Breaking through the shackles of medieval religious thought, works of art are closer to nature, and light and color are no longer used as symbolic means, but as an insignificant artistic language in the paintings of the 1718th century. Pay more and more attention to use light to create picture effect, foil the atmosphere of the picture. The colors of neoclassicism were based on sketches, and light was still used as a foil in neoclassical paintings; Romanticism, which prevailed in the first half of the 19th century, overthrew the program of classical painting. They go out of the studio and face nature, focusing on the changes of light and color and expressing their inner feelings with full colors. Secondly, it analyzes the role of light and color in the Impressionist, Neo-Impressionist painting language. With the continuous development of natural science, Impressionist painters combine practice with light color theory, walk out of the studio and pursue the instant impression of light color. The change of the concept of sketch changed the stillness of art, the use of environmental colors made the Impressionist paintings more colorful, the shadows were no longer gray brown and black, and the contours and shapes of objects were ignored. The vivid, vivid and vivid paintings with free brushstrokes and colorful dots of various shapes bring us a new kind of visual feast. Taking Manet, Monet, Renoir and Degas as examples, this paper discusses the new forms of light and color in the painting language of Impressionist painters. The primary color is placed directly on the canvas with a small color dot to form a visual mixture of colors. This paper discusses the rational expression of light and color in Neo-Impressionist painting with Serra as an example. Finally, it analyzes the subjective performance of post-impressionism on light and color. With the continuous development and progress of society, light and color become the most important elements for artists to express their subjective feelings. Post-Impressionist paintings are also influenced by Oriental art. While the works express the painter's subjective feelings, they make the works more expressive. Decorative, symbolic Taking Cezanne, Van Gogh and Gauguin as examples, this paper discusses the individualized expression of light and color by post-impressionist painters.
【学位授予单位】：辽宁师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J213

【相似文献】