發(fā)布時(shí)間：2018-05-30 09:02

  本文選題：克里姆特 + 新藝術(shù)運(yùn)動(dòng)�。� 參考：《合肥工業(yè)大學(xué)》2014年碩士論文

【摘要】：隨著人類不斷進(jìn)化、時(shí)代不斷變遷，繪畫(huà)從原始的記錄工具演變?yōu)橐婚T獨(dú)立的藝術(shù)形式，并在社會(huì)背景的影響下人們的審美觀念及審美需求也發(fā)生了巨大的轉(zhuǎn)變，作為藝術(shù)主體之一的藝術(shù)家（藝術(shù)主體可分為藝術(shù)家和觀賞者）也在不斷的摸索著更新著繪畫(huà)的表現(xiàn)形式、創(chuàng)作材料和顏色搭配等。使繪畫(huà)不斷地從一個(gè)巔峰被推向另一個(gè)巔峰。 在藝術(shù)的發(fā)展過(guò)程中，出現(xiàn)了很多意義重大的轉(zhuǎn)折點(diǎn)。在19世紀(jì)下半葉到20世紀(jì)前期，是范圍波及繪畫(huà)，服裝，建筑等領(lǐng)域，其風(fēng)格又緊接著在裝飾藝術(shù)運(yùn)動(dòng)中被進(jìn)一步升華的新藝術(shù)運(yùn)動(dòng)中出現(xiàn)的獨(dú)特藝術(shù)風(fēng)格，在藝術(shù)發(fā)展史上具有重要意義。這一時(shí)期，“裝飾性”得到了各業(yè)界的廣泛關(guān)注�？死锬诽厥窃摃r(shí)期繪畫(huà)的代表之一，其繪畫(huà)具備了這個(gè)時(shí)期獨(dú)有的“符號(hào)化”“幾何化”“自由化”“平面化”特征�？死锬诽爻錾�在一個(gè)金飾雕刻家的家庭，自幼顯示出過(guò)人的藝術(shù)才華并在14歲時(shí)進(jìn)入學(xué)院學(xué)習(xí)美術(shù)。其繪畫(huà)風(fēng)格經(jīng)歷了從早期自然主義到中期突出的幾何裝飾性風(fēng)格，再到后期的喜用東方圖騰并且筆觸跳躍、顏色絢麗的東方風(fēng)格。他運(yùn)用著裝飾性的色彩、具設(shè)計(jì)感的構(gòu)圖與元素、昂貴的材料等特有的表現(xiàn)手法，為我們展現(xiàn)出那個(gè)時(shí)代架上繪畫(huà)的另一番景象。本文聯(lián)系自身所學(xué)專業(yè)，以這一時(shí)期的代表畫(huà)家克里姆特的繪畫(huà)為例，，主要研究“裝飾性”與架上繪畫(huà)相互融合時(shí)在空間構(gòu)成上的表現(xiàn)以及裝飾性元素的運(yùn)用。 論文首先闡述課題的研究概況，其次綜述了何為裝飾藝術(shù)，以及世紀(jì)交替時(shí)的背景，再?gòu)目臻g構(gòu)成、色彩視覺(jué)、材料等方面來(lái)研究克里姆特繪畫(huà)的裝飾性是如何表現(xiàn)當(dāng)時(shí)的時(shí)代特征，以及他繪畫(huà)中的裝飾性對(duì)當(dāng)今藝術(shù)發(fā)展的啟示。最后通過(guò)以上的分析研究，結(jié)合自己的作品，總結(jié)對(duì)“裝飾性”手法的理解與感悟。
[Abstract]:With the continuous evolution of human beings and the changing times, painting has evolved from a primitive recording tool to an independent art form. Under the influence of the social background, people's aesthetic concepts and aesthetic needs have also undergone tremendous changes. As one of the art subjects, the artists (the art subjects can be divided into artists and appreciators) are constantly groping to update the form of expression of painting, creative materials and color collocation and so on. To push a painting from one peak to another. In the development of art, there are many significant turning points. From the second half of the 19th century to the early 20th century, it was the unique artistic style that spread to the fields of painting, clothing, architecture, and so on, followed by the new art movement, which was further sublimated in the decorative art movement. It is of great significance in the history of art development. This period, "decorative" has been widely concerned by the industry. Klimt is one of the representatives of painting in this period. His painting has the unique characteristics of symbolization, geometry, liberalization and planarization. Klimt was born into a golden sculptor's family, showed great artistic talent from an early age and entered the academy at the age of 14 to study fine arts. His painting style has experienced from the early naturalism to the mid-stage prominent geometric decorative style, then to the late love to use the Oriental totem and strokes jump, colorful Oriental style. His use of decorative colors, design sense of composition and elements, expensive materials and other unique expression techniques, for us to show us a different picture of the frame of that era. In this paper, with the example of the painting by Klimt, a representative painter in this period, this paper mainly studies the expression of space composition and the application of decorative elements when "decorative" and "frame painting" merge with each other. The paper first describes the research situation of the subject, then summarizes what is the decorative art, and the background of the turn of the century, and then from the space composition, color vision, Materials and other aspects to study the decorative painting Klimt how to express the characteristics of the times, as well as the decorative painting in his painting to the development of contemporary art enlightenment. Finally, through the above analysis and research, combined with their own works, summed up the "decorative" means of understanding and understanding.
【學(xué)位授予單位】：合肥工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 唐納德·B·庫(kù)斯皮特 ,唐震熙 ,愚心;維也納“新藝術(shù)運(yùn)動(dòng)”中的裝飾風(fēng)格[J];世界美術(shù);1987年03期

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