论印象派绘画创作中的情感因素

发布时间：2018-06-16 13:41

本文选题：印象派 + 情感　；参考：《广西师范大学》2014年硕士论文

【摘要】：19世纪下半叶产生的印象派绘画不仅仅是一个风景画流派,也不仅仅是法国绘画史上一次著名的艺术运动,最主要的是印象派艺术家在那次运动中表达出了对艺术基本问题的一种普遍态度。在当时的大环境中,古典主义将素描发展到高峰、沙龙体制势力强大,而后浪漫主义画风越发矫揉造作,取代传统人像画的照相术出现,印象派带着反对古典“唯理”主义和浪漫“唯心”主义的态度和寻找绘画新出路的目标出现了。印象派继承了法国现实主义画家库尔贝“让艺术面向当代生活”的传统,坚持着“以光和色彩作为认识世界的中心”的基本理念进行艺术创作。毕沙罗、莫奈、雷诺阿、德加、莫里索、高更等不甘于受传统艺术束缚,志在革新的年轻艺术家,一方面受到刚进入西方的东方艺术文化影响,一方面又具有摆脱传统的决心,便聚集起来共同研讨绘画艺术的发展方向,经过十多年努力后,最终形成了成熟的新兴绘画风格,成就了我们今天看到的完整的印象派。印象派画家个人的情感作用使得他们的绘画题材范围变得更广。他们反对古典主义局限于宗教、历史性重大事件的题材范围和浪漫主义强调主观的理想化的题材范围,将目光停留在了自然、人物和社会生活上,呈现出一幅幅真实、客观的自然场景画,描绘的内容亲近平实,表现了时代的种种变化。情感推动了印象派的创作动机,使印象派绘画作品极具感染力。本文通过对印象派艺术家和作品的深入解读,对“经历和环境——情感——绘画”进行层层深入地剖析,以艺术家的“情感创作因素”为切入点,论证印象派绘画中体现的情感作用及价值。印象派从时间上细分为印象画派、新印象画派、后印象画派三个阶段,这三个阶段在社会关系上有着难以分割的联系,但从艺术观念和表现形式上却有了很大不同,因此需要指出的是,本文的印象派绘画研究范围针对印象派的第一阶段进行,正是这一时期的印象派开始了对传统色彩表现和绘画主题的革新。本论文的研究目的在于论证印象派绘画中体现的情感作用和价值,使得人们能够充分认识印象派艺术家的主观和客观相结合的表现方式,创新点在于对印象派绘画具有内容性和社会性这两个特点做出了论证。本论文的研究意义在于呼吁从事绘画行业的人们将真正的情感诉诸于作品,尽力使作品具有传递情感和产生共鸣的作用,使作品成为内心或社会的反映,而不仅仅是商业。第二章和第三章详述印象派绘画主要代表的经历和时代变化,以哲学和美学观点解析得到“画家的情感受到成长过程和社会环境的影响,而绘画主题的选择受到情感影响,所以绘画主题包含画家情感因素”的因果关系,论证印象派绘画通过重形式也重内容的表现方式,传达绘画主题所具有的社会性,体现画家情感对绘画起到的作用。第四章归纳总结印象派画家主观和客观相结合的绘画方式,进而分析印象派绘画的情感作用和价值,及对后人所带来的意义。通过本文的论述,读者能够了解到印象派产生的时代之变化和印象派变革的必然性、必要性,理解印象派风格所具有的内容性。印象派画家在探寻发展道路时表现出的革新精神,和追求艺术坚持不懈的态度发人深省,作为艺术创作者,我们也应该在印象派情感创作因素的再解读中重新审视自己,明确绘画道路的发展方向并为之努力。
[Abstract]:The impressionist painting produced in the second half of the nineteenth Century is not only a landscape painting school, but also not only a famous art movement in the history of French painting, but the most important thing is that the Impressionist artists expressed a general attitude to the basic problems of art in that movement.
In the great environment of the time, classicism developed the sketch to the peak, the salon system was powerful, and the romanticism became more affectation, instead of the traditional portrait photography, and the Impressionists took the object of opposing classical "rationalism" and romantic "idealism" and looking for a new way out of painting. The elephant school inherited the tradition of "making art facing the contemporary life" by Courbet, a French realism painter, insisting on the artistic creation of "light and color as the center of the world". Pissarro, Monet, Renoir, degar, Morisot, Gauguin, and other young artists who are determined to be shackled by traditional art. On the one hand, it has been influenced by the eastern art and culture which has just entered the West. On the one hand, it has the determination to get rid of the tradition. It has gathered together to discuss the development direction of the art of painting. After more than 10 years of hard work, it has finally formed a mature new style of painting, which has achieved the complete Impressionist we have seen today.
The impressionist painter's personal emotional function makes their painting subject wider. They oppose the limitation of classicism to religion, the scope of the subject matter of historic events and the romantic emphasis on the subjectively idealized range of subject matter, and the attention to the nature, the characters and the social life, showing a real and objective view. The natural scene painting, the content of the depiction is close and flat, showing all kinds of changes of the times. Emotion promotes the Impressionist creative motive and makes the Impressionist paintings very infectious. This article through the in-depth interpretation of Impressionist artists and works, deeply dissects the "experience and environment feeling - Painting". As an entry point, the artist's emotional creation factor demonstrates the emotional function and value embodied in Impressionist painting.
The Impressionist school is subdivided into three stages of Impressionism, new Impressionism and Post Impressionism. These three stages have an inseparable relationship in social relations, but there are great differences in artistic conception and form of expression. Therefore, it is necessary to point out that the scope of the painting study of this article is aimed at the first stage of the Impressionist school. It was during this period that Impressionists began to innovate in traditional colors and themes.
The purpose of this study is to demonstrate the emotional role and value embodied in Impressionist painting, which makes people fully understand the subjective and objective manifestation of Impressionist artists, and the innovation is to demonstrate the two characteristics of impressionist painting with its content and sociality.
The significance of this thesis is to appeal to people engaged in the painting industry to resort to the true feelings to the works, to make the work have the effect of conveying emotions and resonating, making the work a reflection of the heart or the society, not just business.
The second chapter and the third chapter detailed the experience of the Impressionist paintings and the changes of the times. In terms of philosophical and aesthetic points of view, "the emotion of the painter is influenced by the process of growth and the social environment, and the choice of the theme of painting is influenced by emotion, so the theme of painting contains the causality of the painter's emotional factors, and the impressionist painting is demonstrated." Through the form of heavy form and heavy content, the painting conveys the social nature of the painting theme, and embodies the painter's affection on painting.
The fourth chapter summed up the impressionist painter's subjective and objective painting method, and then analyzed the impressionist painting's emotional function and value, and the significance to the later generations.
Through this article, readers can understand the changes of the Impressionist school and the inevitability of the Impressionist change, the necessity and the content of the impressionist style. The Impressionist painters have a spirit of innovation in exploring the road of development, and the pursuit of the unremitting attitude of art, as an artistic creator, We should also re examine ourselves in the re interpretation of Impressionist's emotional creation factors, and make clear the direction of the development of painting road and strive for it.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.9

【共引文献】