簡介：中國美術(shù)學(xué)院碩士學(xué)位論文心靈的寫實(shí)主義者淺談巴爾蒂斯風(fēng)格化的繪畫姓名徐蕾申請學(xué)位級別碩士專業(yè)油畫指導(dǎo)教師王羽天20060520中目美術(shù)學(xué)院油I系椽蕾心靈的寫實(shí)主義者ABSTRACT“THEREALITYISNOTWHATYOUSEE．WEC缸BEREALISMMISTSWHODEPICTUNREALWORLD,ANDABSTRACTARTISTSWHODEPICTVISIBLEWORLDEITHER．”BAIRBUSITLHISSIMPLESTUDIO，HESTOODINFRONTOFTHEWINDOWSTILLYLIKEASCULPTURE．THATWINDOWWASFULLOFW鋤LIGHTSWITHOUTANYLANDSCAPESOUTSIDE．ITWASCERTAINTHATHESEESANYTHING．WHATDIDHESEEPERHAPS，HESAWNOTHINGEVENTHOUGHTHEYEXISTED．HISTHOUGHTSFLIEDTOOTHERPLACEOUTOFTHESCENERY??INTHE{PAINTERANDMODET,1980～198D．HETURNEDHISFACE丘姍THEAUDIENCEWITHHISBACKLEFT,WHICHWASNOTMANGETOUSINTHEMOUNTAIN,1937，THISBACKAPPEAREDINTHEREMOTEMOUNTAINJUSTINTHERIGHT；INTHE{ANDRESBUSINESSMEET,1952～1954}，HISBACKPLUNGEDINTOLONELYATMOSPHERE,EVENTHOUGHAPIECEOFBREADWASINHISHAND．HEFACEDHISOWNWORLDWITHHISBACKLEFTTOTHEPEOPLE．THEMYSTERYWASLEFTTOTHECRITICS．THEREWEREMANYOPINIONSTOW礎(chǔ)HISART,ANDSOMEWEREPRAISED,AND,SOMEWERECRITICIZED．HOWEVER,ITWASTHESAMEIDEASTHATHISBEMVIORSWERELIKEMYSTERYANDHISWORKSWASALSOMYSTERYHELIVEDANDKEPT山鋤ⅣIN呂HOWEVER,HEHADBEENALEGENDARYPERSOLZPICASSOPRAISEDHIMASTHEGREATESTPAINTERINTHE20血CENTURY‘BALTHUS

簡介：Y8111211學(xué)校代碼10475學(xué)號104753030385河南大學(xué)研究生碩士學(xué)位論文潛意識理論介入繪畫創(chuàng)作教學(xué)初探PRELIMINARYSTUDYOFSUBCONSCIOUSTHEORIESINVOLVEDINTHEARTISTICCREATIONI’EACHIⅡG專業(yè)名稱專業(yè)代碼研究方向年級研究生姓名導(dǎo)師姓名、職稱完成日期論文主題詞美術(shù)學(xué)050403油畫教學(xué)研究二00三級靳曦黃瑞欣副教授二OO六年五月潛意識／創(chuàng)作教學(xué)ABSTRACTANISTICCREATIONTEACHINGISAWEA】【LJILKINC011EGETHESTUDENTSALWAYSCOMPLAINMATTHEREISNOCONNECTI響B(tài)ETWEEⅡTHELEAMINGANDTHECREATIONORCAILJUSTCOMPLETEEXERCISESBUTCAILNOTCOINPLETECREATION111EYCOPEWIIHTHE伊ADUATIONCREATIONROU曲LYANDCANNOTEXERCISEWHATTHEY1E砌EDARTISTICCREATIONTEACHINGISCONF而NTEDWITHPRCDICAMENTTHEARTEDUCATIONHASITSCHARACTERISTICS，SHOULDHAVEITSOWNTEACHINGMEMODT1LESUBCONSDOUSTHEORIESAILDTHEARTCREATIONSAREDOSELYRELATED，THEIMPORTANCEOFTLLESUBCONSDOUSTHEORIESANDTHEREVELATIONOFTHEREGULATIONOFANCREATIONAREWONHYOFBEINGREGARDEDAS衄EOFT11EBASICTHEORIESOFANEDUCATIONTHISP印ERINITIATEWITHT11EANALYSISOFT11EREASONOFARTISTICCREATIONTEA曲INGPREDICAMENTAILDPUTFO刑ARDTHE“BIGCREATIOⅡ”CONCEPTOFTHEPAINTINGTEACHIN呂DISSENATETHEIMPONAILTFILNCTIONOFTHEPSYCHOLOGYINTERVENTIONINTHEPAIⅡTINGTEACHINGTHEPAPERBRIENYINTRODUCETHESUBCONSCIOUSTLLEOIIES，EMPHASIZETHECLOSERELATIONBET、VEENTHESUBCONSCIOUSTHEORIESANDTHEANCREATIONS，SUMM州ZEALLDAILALYZETLLESUBCONSCIOUSTEACHINGMETHODTLLATPEOPLEADOPTPREVIOUSLYANDPUTSF01WARDTHEPOSSIBLESUGGESTJONINARTISTICCREATIONTEACLLIⅡGATTHEENDKEYWORDSSUBCONSCIOUS，SUBCO璐CIOUSTHEORIES，ANISTICCREATIONTEACHING，PSYCH0109YJNTERVENTION，“BJGCREA虹ON”II

簡介：四川美術(shù)學(xué)院碩士學(xué)位論文試論“符號性”繪畫語言在當(dāng)代中國畫發(fā)展中的運(yùn)用姓名楊恩潔申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉明孝20070301四川美術(shù)學(xué)院碩士學(xué)位論文英文摘要IITHEAPPLICATIONOFTHESYMBOLICDRAWINGLANGUAGEINTHEDEVELOPMENTOFTHECONTEMPORARYCHINESEPAINTINGABSTRACTWITHTHEFASTDEVELOPMENTOFTHESOCIETY,SYMBOLSHAVEMADEOURLIFEEASIERANDMORECONVENIENTWECANSEETRAFFICSIGNSORBUSINESSMARKSEVERYWHERESYMBOLICLANGUAGEISNOWPLAYINGANIMPORTANTROLEINOURLIFESYMBOLICDRAWINGLANGUAGEALSOAPPEARSINTHEARTISTS’CREATIONOFTHECONTEMPORARYCHINESEPAINTINGSBECAUSEOFTHEDIFFERENTSITUATION,ITREPRESENTSDIFFERENTMEANINGANDHASDIFFERENTFUNCTIONSTHEFIRSTSECTIONOFTHISESSAYGIVESTHEDEFINITIONOFSYMBOLSASADRAWINGELEMENTINPAINTINGONCETHEMARKSBECOMEADRAWINGELEMENT,THEIRROLESCHANGESINPAINTINGWORLD,MARKSARENOLONGERTHEFIXEDSIGNS,THEYAREENDOWEDWITHADEEPER,SPECIALMEANINGBYTHEARTISTSNOWMOREANDMORESYMBOLICDRAWINGLANGUAGESAPPEARINPAINTINGANDTHEYBECOMEMOREFORMATIVEANDIMAGINATIVECOMPAREDWITHTHESIGNSINOURLIFETHEYAREUSEDASAWAYOFEXPRESSINGANDFORTHEPURPOSEOFACHIEVINGVISUALEFFECTTHESECONDANDTHIRDSECTIONSRESPECTIVELYTALKABOUTTHESYMBOLICLANGUAGEINANCIENTCHINESEPAINTINGSANDTHESYMBOLICDRAWINGELEMENTINCONTEMPORARYCHINESEPAINTINGS,ANDPARTICULARLYINTRODUCETHEAPPLICATIONOFSYMBOLICDRAWINGLANGUAGEINTHECONTEMPORARYCHINESEPAINTINGANDTHEARTISTICCULTUREREPRESENTEDBYTHESYMBOLSINCONTEMPORARYCHINESEPAINTINGTHREEWAYSOFTHEAPPLICATIONARESPECIALLYPOINTEDOUTTHROUGHGIVINGEXAMPLESANDMAKINGANANALYSISAUSINGSOMESIMPLESIGNSWHICHARENOTUSEDFORINDICATINGCERTAINTHINGSASONEOFTHEDRAWINGELEMENTSINCONTEMPORARYCHINESEPAINTINGCREATIONBUSINGTHESHAPESOFSOMEOBJECTSASTHESYMBOLICELEMENTINTHECONTEMPORARYCHINESEPAINTINGCREATIONCCREATINGNEWSYMBOLICDRAWING

簡介：華東師范大學(xué)碩士學(xué)位論文從筆觸的內(nèi)部生成方式談西方繪畫筆觸的表現(xiàn)性姓名林奇森申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師尹呈忠20070501ABSTRACTTHETHESISMAINLYEXPLOREDTHEBRUSHSTROKEMODALITYINTHEWESTERNPAINTINGBYRECONSIDERINGTHEDEFINITIONOFBRUSHSTROKEANDSORTINGOUTTHEDEVELOPMENTOFTHEBRUSHSTROKEFORMINWESTERNPAINTINGTHETHESISENDEAVOREDTOSHOWTHEINTERRELATIONINBETWEENTHEINTERNALSTRUCTUREOFBRUSHSTROKE，SPECIFICALLYTHERELATIONBETWEENTHEINTERNALGENERATIONMODEOFBRUSHSTROKEANDITSMANIFESTATIONTHETHESISISCOMPOSEDOFFOURCHAPTERSTHEFIRSTCHAPTERINTERPRETSRELATEDCONCEPTIONSOFMODALITYOFBRUSHSTROKEINRESPECTOFTHETRADITIONALDEFINITIONOFTHEBRUSHSTROKEANDTHEGENERATIONMODETHESECONDCHAPTERMAINLYDISCUSSEDBRUSHSTROKE’SMANIFESTATIONMODE，INCLUDINGITSDEFINITIONINTERPRETATIONANDTHERELATIONBETWEENTHEBRUSHSTROKE’SINTERNALGENERATIONMODEANDITSMANIFESTATIONTHISCHAPTERALSOANALYSESTHEEFFECTANDEMBODIMENTOFTHEBRUSHSTROKE’SGENERATIONMODEINITSMANIFESTATIONMODETHETHIRDCHAPTERISTHEPRINCIPALPARTINRESPECTOFTHESPECIFICWAYOFIMPLEMENTINGTHEBRUSHSTROKEGENERATIONBEHAVIORINTHEARTISTICCREATIONPROCESSANDOFBRUSHSTROKE’SPARTICIPATIONINTHEPAINTINGCONSTRUCTION，ANDFURTHERINCOMBINATIONOFTHERECARDINGTHEDEVELOPMENTOFTHEBRUSHSTROKEFORMINWESTERNPAINTING，THISCHAPTERDISCUSSEDTHEINTERRELATIONINBETWEENTHEINTERNALSTRUCTUREOFTHEBRUSHSTROKETHELASTPARTCOMESTOTHECONCLUSIONOFTHEMEANINGOFTHERECONSIDERATIONOFTHEBRUSHSTROKEMODALITYINTHEMODERNANDCONTEMPORARYHISTORYCONTEXTKEYWORDSTHEBRUSHSTROKETHEMANIFESTATIONMODETHEBRUSHSTROKESTRUCTURETHESTROKEMODALITYNOUMENONOFPAINTINGLANGUAGEOFMODALITY

簡介：河北大學(xué)碩士學(xué)位論文對石濤繪畫藝術(shù)獨(dú)創(chuàng)性的探究姓名趙涵申請學(xué)位級別碩士專業(yè)藝術(shù)學(xué)指導(dǎo)教師胡凌20080601摘要～L皇曼曼曼曼量曼曼量曼曼皇曼皇曼曼曼皇曼曼量曼曼曼曼曼曼曼曼曼曼曼皇曼曼曼曼曼皇曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼曼皇皇曼曼曼曼曼曼曼曼曼量量舅舅無、靜與動(dòng)、疏與密的關(guān)系。石濤總結(jié)了六種具體的意境表現(xiàn)手法，深化了中國傳統(tǒng)意境追求，意境的創(chuàng)造需從事物與事物的內(nèi)在聯(lián)系中去開拓美和創(chuàng)造美。石濤是中國繪畫藝術(shù)的創(chuàng)造者。他一掃傳統(tǒng)的拘泥于古法的限制，使畫家的筆墨表現(xiàn)更加自由，加上他豐富的文化修養(yǎng)和人生閱歷，開創(chuàng)了清代中國繪畫的新局面。石濤的藝術(shù)理論與繪畫實(shí)踐包含著豐富的文化內(nèi)涵。他的繪畫美學(xué)思想無論對于當(dāng)時(shí)還是當(dāng)今的中國繪畫美學(xué)理論研究者都有著重大的影響和啟示作用。關(guān)鍵詞石濤一畫筆墨技法II

簡介：曲阜師范大學(xué)碩士學(xué)位論文論象征性在西方繪畫中的體現(xiàn)姓名周磊申請學(xué)位級別碩士專業(yè)藝術(shù)學(xué)美術(shù)指導(dǎo)教師張煬20090401ABSTRACTWESTERNARTHISTORYATTHEWHOLEDEVELOPMENTPROCESSOFTHE”SYMBOLIC”ASANIMPORTANTMEANSOFARTISTICEXPRESSION，PAINTINGINTHEWESTRUNSTHROUGHTHEVARIOUSPERIOD，WITH”TRANSCENDENCE，IMPLICIT”AND”UNCERTAINTY”，”ABSTRACT”ANDOTHERAESTHETICFEATURESOFARTINDIFFERENTDEVELOPMENTPERIOD，TOSERVEASANARTISTANDAPPRECIATETHEFEELINGSBETWEENTHEEXCHANGEOFIDEASANDMEDIAWHETHEREARLYORLATERINTHEORIGINALARTARTOCCUPIESANIMPORTANTPOSITIONINTHEHISTORYOFTHERENAISSANCE，ROMANTICISM，SYMBOLISM，EXPRESSIONISM，SUCHASTHEPERIODOFARTISTICCREATION，ARENOTLACKOF”SYMBOLIC”LANGUAGEOFTHEEXISTENCEOFTHISPAINTING”SYMBOLIC”INTHEIROWNUNIQUEAESTHETICROLE，CHARGEDWITHVARIOUSPERIODSARTISTTHOUGHT，EMOTIONALEMBODIMENTTHISARTICLEDISCUSSESTHEIDEAOFWESTERNPAINTINGFROMTHEDEVELOPMENTOFAESTHETICANDSYMBOLICASPECTSOFTHECHARACTERISTICSOFTWOLARGE，VERTICAL，HORIZONTALCROSSEXPOSITIONWESTERNARTINALLTHEDEVELOPMENTPROCESSMOREREPRESENTATIVEOFTHEARTISTPAINTINGINTHE”SYMBOLIC”ASTHEEMBODIMENTOFTHEARGUMENTSTOPROVETHEPOINTTHAT”SYMBOLIC”INTHEWEST，PAINTINGINTHEEMBODIMENTTHEMAINRESEARCHMETHODSUSEDINTHELITERATURETHEREISRESEARCH，INTERDISCIPLINARYRESEARCH，CASESTUDIES，LAW，INFORMATIONRESEARCHMETHODS，EXPERIENCEINLAW，DESCRIPTIVERESEARCHMETHOD，METHODSOFTHINKINGFIRSTOFALL，WHENWELOOKATWESTERNPAINTING，INACCORDANCEWITHTHEWESTASYMBOLOFNARROWTHEORETICALGENERALIZATIONCANBESYMBOLICOFWESTERNPAINTINGEMBODIMENTSUMMARIZEDINFOURSTAGES，NAMELYORIGINALARTDURINGTHEFIRSTPHASEOFTHESYMBOLICEMBODIMENT；THESECONDPHASEOFTHEEUROPEANTHEMIDDLEAGES，BECAUSERELIGIOUSINVOLVEMENTDURINGTHISPERIODOFPAINTINGINTHE”SYMBOLIC”EMBODIEDEFFECTS；THETHIRDSTAGE，THECENTURYINEUROPE，17，18SUCHATIMEOFRENEWAL，”ASYMBOLOF’PAINTINGASALANGUAGEARTSATTHESECULAROFCOURSE，STILLHASANINDELIBLEAESTHETICSIGNIFICANCE；FOURTHSTAGEISTHE”SYMBOLIC”O(jiān)FTHE”HONEYMOONPEDOD”THE19THCENTURYTOTHE20THCENTURY，DURINGWHICHTHESYMBOLISM，EXPRESSIONISM，ABSTRACTPAINTING，ANDOTHERARTISTDURINGTHEMOSTUSEDMEANING，SYMBOLICWAYTOEXPRESSDREAMS，DARKANDMORBID，ANDEVENDEATHEXTOLTHEPURSUITOFTHEREALMOFABSURDITYTOTHESOUL’SIMAGINATIONTOCREATESOMETHINGWITHAHINTOFMAGICANDSYMBOLICIMAGESDURINGTHISPERIOD，THESYMBOLICLANGUAGEOFPAINTINGASACLEARSTARTUPESTABLISHEDITSPRESENCEINTHEFIELDOFVISIONSUPREMACYSECONDLY，ASASYMBOLOFTHESPIRITOFTHEARTIST’SEXPRESSION，COMMUNICATEANDGENERATEDASPECIALSYMBOLICSIGNIFICANCEOFTHEAESTHETICCHARACTERISTICS，MAINLYEMBODIEDINSYMBOLICTRANSCENDENCE，UNCERTAINTY，DIVERSITY，INDIRECT，SUBTLEANDABSTRACTANDSOONINCHAPTERIIIOFTHISARTICLE，MAINLYFROMTHEAESTHETICCHARACTERISTICSOFASYMBOLTOTHEOVERALLANALYSISOFTHEWESTERNPAINTINGSYMBOLICEMBODIMENTGIVETHEARTISTTHEUSEOFASYMBOLOFAMOREEXTENSIVEASSOCIATEONOFSPACETOPEOPLEWATCHATTHESAMETIMEEXERTIMAGINE，INORDERTOENHANCETHEPERFORMANCEOFPAINTINGANDARTISTICEFFECTSOFTHESCREEN，SOTHATPAINTINGSMOREAPPEALINGII

簡介：學(xué)校代碼10663學(xué)號4201310000651貴州師范大學(xué)碩士學(xué)位論文架上繪畫與現(xiàn)代數(shù)碼技術(shù)的關(guān)系研究THERESEARCHOFRELATIONSHIPBETWEENEASELPAINTINGDIGITALSCIENCE專業(yè)方向藝術(shù)學(xué)理論專業(yè)代碼130100申請人姓名覃苗導(dǎo)師姓名劉力（教授）二○一六年四月三日I摘要隨著科學(xué)技術(shù)的不斷進(jìn)步，數(shù)碼技術(shù)得到了突飛猛進(jìn)的發(fā)展，給人們的文化和生活等各個(gè)方面帶來了影響。尤其是當(dāng)今社會，到處充斥著數(shù)碼技術(shù)的影子，它已經(jīng)覆蓋了我們生活的所有，其中也包括繪畫，并促使繪畫向著大眾化、廣泛化的趨勢發(fā)展。數(shù)碼技術(shù)作為一門科學(xué)技術(shù)，與架上繪畫的關(guān)系越來越密切，使得數(shù)碼技術(shù)成為了架上繪畫中不可或缺的一個(gè)方面。架上繪畫的不斷發(fā)展促使人們開始了對數(shù)碼技術(shù)領(lǐng)域的逐步探索，隨著暗箱技術(shù)的不斷提高，攝影術(shù)逐步代替了暗箱技術(shù)，從此攝影術(shù)開始流行。在此過程中架上繪畫給數(shù)碼技術(shù)的影響是很大的，也是多方面的；同時(shí)數(shù)碼技術(shù)的不斷進(jìn)步，也給傳統(tǒng)的架上繪畫的發(fā)展注入了新的元素及新的契機(jī)。首先在思想認(rèn)識上，數(shù)碼技術(shù)的出現(xiàn)使藝術(shù)家的創(chuàng)作思想得到了更大的釋放，數(shù)碼技術(shù)在架上繪畫中得到了廣泛的應(yīng)用，而在表現(xiàn)形式上，新的繪畫手段電腦繪畫、IPAD繪畫等的出現(xiàn)，使得傳統(tǒng)架上繪畫呈現(xiàn)出更加多元化的發(fā)展趨勢，極大地?cái)U(kuò)展了架上繪畫的多種可能性。文章主要圍繞架上繪畫與數(shù)碼技術(shù)的關(guān)系展開論述，從傳統(tǒng)架上繪畫對數(shù)碼技術(shù)的相互潛在影響，再到數(shù)碼技術(shù)對架上繪畫的多方面滲透這樣一條主線軸來進(jìn)行具體的闡述，使我們對今天普遍的數(shù)碼技術(shù)與架上繪畫的發(fā)展關(guān)系有一個(gè)較客觀而又全面的認(rèn)識，最后提出自己對數(shù)碼技術(shù)和架上繪畫的看法。關(guān)鍵詞數(shù)碼技術(shù)架上繪畫圖像關(guān)系

簡介：山東建筑大學(xué)碩士學(xué)位論文山東建筑大學(xué)碩士學(xué)位論文

簡介：1分類號注1密級注2UDC注3學(xué)號注4Z1007008碩士學(xué)位論文論博斯繪畫的藝術(shù)風(fēng)格及其影響論博斯繪畫的藝術(shù)風(fēng)格及其影響研究生姓名王韻王韻導(dǎo)師姓名陳世和陳世和教授教授申請學(xué)位級別碩士研究生碩士研究生學(xué)科專業(yè)名稱美術(shù)美術(shù)論文提交日期20201313年3月6日論文答辯日期20201313年5月1616日學(xué)位授予單位南京藝術(shù)學(xué)院南京藝術(shù)學(xué)院學(xué)位授予日期2020年月日答辯委員會主席顧丞峰顧丞峰評閱人2013年5月16日3摘要摘要在尼德蘭文藝復(fù)興中，博斯的繪畫風(fēng)格尤其特別。本文立足于尼德蘭藝術(shù)的大環(huán)境研究博斯。試圖在內(nèi)容上將博斯的作品分為宗教故事、勸誡主題和尼德蘭民諺三類進(jìn)行分析，闡述其獨(dú)特的藝術(shù)風(fēng)格以及他藝術(shù)風(fēng)格所形成的原因。通過對類似風(fēng)格的畫家作品進(jìn)行比較和研究，說明了博斯的風(fēng)格對后世有一定的影響。博斯通過在繪畫中運(yùn)用各種奇幻、荒誕的藝術(shù)元素，開創(chuàng)性的將其與宗教敘事和民諺勸誡的主題巧妙結(jié)合，借以對世俗、教會以及保守愚昧的統(tǒng)治進(jìn)行揭示和諷刺。他將繪畫的藝術(shù)語言與深刻的內(nèi)涵完美融合，豐富了繪畫藝術(shù)形式。博斯獨(dú)樹一幟的繪畫風(fēng)格影響深遠(yuǎn)，對當(dāng)今的油畫創(chuàng)作依然有著借鑒意義。關(guān)鍵詞宗教民諺勸誡繪畫風(fēng)格

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簡介：分類號J2學(xué)校單位代碼10446碩士學(xué)位論文論文題目論文題目中國傳統(tǒng)繪畫空間中的留白研究生姓名唐興聰學(xué)科、專業(yè)美術(shù)學(xué)、國畫研究方向人物導(dǎo)師姓名、職稱李廣平、教授論文完成時(shí)間2013年4月1中國傳統(tǒng)繪畫空間中的留白摘要藝術(shù)講究的不是再現(xiàn)而是創(chuàng)造，而留白的運(yùn)用則是藝術(shù)創(chuàng)造的重要手段之一，其內(nèi)涵是十分豐富的，是中國畫構(gòu)圖的一大特色，也是構(gòu)成畫面成敗的關(guān)鍵。中國畫中的留白是以虛為實(shí)，“空”而不空的，留白是畫家表達(dá)繪畫主題并創(chuàng)造畫面意境重要手段；繪畫中運(yùn)用留白，是藝術(shù)形式美感的需求?？梢允巩嬅嬷黧w形象更加明確和突出；又可以使畫面物象更加具有空間感、層次感和立體感，；本文立足于中國畫傳統(tǒng)文化的立場，采用結(jié)構(gòu)理論的方法，從留白在中國畫中的應(yīng)用，構(gòu)圖中留白的基本法則，及留白在構(gòu)圖中的運(yùn)用等方面做出了闡述，在關(guān)于中國畫留白藝術(shù)的鋪排與陳述中，尋找并呈現(xiàn)中國畫留白藝術(shù)的內(nèi)涵。關(guān)鍵詞中國畫；構(gòu)圖；留白

簡介：河北大學(xué)碩士學(xué)位論文德庫寧繪畫作品中女人形象的研究姓名劉若蕾申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師明鏡201106ABSTRACTIIABSTRACTDEKOONINGWASONEOFTHEGREATESTPAINTERTHESOULOFTHEABSTRACTEXPRESSIONISMINTHE20THCENTURYTHEMETHODOFPAINTINGWHICHISTHEARTISTADHERETOTHEUNCONSCIOUSTHATDOMINATEDTHEPROCESSOFPAINTINGHASANIMPTANTINFLUENCEONTHENEXTGENERATIONDEKOONINGUSEDTHE“BLENDHYBRID“APPROACHFROMEUROPE“CUBISM““SURREAL““EXPRESSIONIST“STYLEINTOHISSCREENITSBRIGHTLYCOLFULLOFSTYLEVIOLENTBRUSHWKRICHTEXTUREBLENDOFVIOLENTEMOTIONSBRINGSUSANEWVISUALEXPERIENCESTHISPAPERSDEKOONING’SSERIESOFWKSFROM1952TO1967THATCONCERNINGWOMENFROMTHEPAINTER’SPOINTOFVIEWSTAYINGCLOSETODEKOONINGSTRUESTATEOFMINDSTARTINGFROMTHEDETAILSOFDEKOONING’SPAINTINGSTUDYONTHELOCALACTERISTICSTHESTRUCTUREOFCOLTHESENSEOFMATERIALTHEFRESHUNIQUEWOMANIMAGEDEEPLYHEUSEDTHECRISSCROSSBRUSHSTROKESTHERICHVICISSITUDESINTEXTURETHEFULLSHAPETHEBRIGHTCOLTOSTIMULATEANEWFEMALE’SIMAGEWHICHISEXTRACTEDFROMDEKOONING’SOWNSPECIALEMOTION’SEXPERIENCESTHEUNIQUEUNDERSTINGOFWOMENKEYWDSDEKOONINGABSTRACTEXPRESSIONISMFREEDOMUNCONSCIOUSTRUE

簡介：LUOZHONGLIANDJEANFRANCOISMILLERPEASANTPAJNTINGIMAGECOMPARATIVESTUDYADISSERTATIONSUBMITTEDTOTHEGRADUATESCHOOLOFHENANNORMALUNIVERSITYINPARTIALFULFILLMENTOFTHEREQUIREMENTSFORTHEDEGREEOFMASTEROFARTSBYYINFEIFEISUPERVISORPROFTANGYAAPRIL，2013面對藝術(shù)多元化的今天，越來越多的藝術(shù)家不僅沒有忽視反而更加關(guān)注下層民眾。以農(nóng)民形象為繪畫主題的藝術(shù)在繪畫風(fēng)格、審美取向和精神表達(dá)上也呈現(xiàn)多姿多彩的態(tài)勢。農(nóng)民作為藝術(shù)形象，必然會隨著社會的進(jìn)步，成為未來藝術(shù)作品中更重要的角色。關(guān)鍵詞羅中立米勒農(nóng)民形象繪畫比較研究Ⅱ

簡介：東北師范大學(xué)碩士學(xué)位論文色彩的意義對繪畫色彩語言的再認(rèn)識姓名馮志才申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師孟德安20050501ABSTRACTCOLORASA‘MEANINGFUL’PAINTINGLANGUAGE，HASSPECIALIMPLICATIONINPAINTINGANDCANNOTBEREPLACEDBYANYOTHERPAINTINGLANGUAGECOLOR’SSTATUSASTHEMOSTIMPORTANTFACTORINPAINTINGART，ASAKINDOF‘MEANINGFUL’ARTISTICSYMBOL，ISSELFEVIDENTTHETHESISELUCIDATESTHEORIGINATION，EVOLUTION，ANDCONVEYANCEOFPAINTINGCOLORINPAINTINGFROMTHEPERSPECTIVEOFFORMALEVOLUTIONOFPAINTINGCOLORLANGUAGE，F(xiàn)ROMTHEPERSPECTIVEOFTHECORRESPONDINGSTATEOFPAINTINGCOLORANDPAINTER’SSUBJECTIVECONSCIOUSNESS，F(xiàn)ROMTHEPERSPECTIVEOFTHEINTERRELATIONSHIPSBETWEENPAINTINGLANGUAGEANDTECHNIQUECOLORASPAINTER’SIMPORTANTMEANSOFEXPRESSINGTHEEMOTIONSANDMEANINGS，DISPLAYSATRAJECTORYOFOUTSIDESKETCHINGTOINSIDEDEEPERDEVELOPMENTOFTHEHEARTWITHTHEEVERDEEPENINGOFPAINTER’SSENSEOFTHEESTHETICSTHISPROCESSBRINGSABOUTTHEGLAMOROUS，COLORFULCHANGEDSTYLEOFPAINTINGSWITHAPOSITIVEANDVERIFYINGATTITUDEAND013THESOLIDFOUNDATIONOFTHEARTTHEORIES，THETHESISTHROUGHTHEMETICULOUSANALYSISOFTHEARTACTIVITYHISTORYOFTHEPAINTERS，PROVESTHATALLARTIST’SUNIQUEPERCEPTIONOFTHEWORLDISACCOMPLISHEDTHROUGHPAINTINGLANGUAGE～ANIMPORTANTFORMALFACTORPAINTINGLANGUAGE，ASASYMBOLOFPAINTER’SARTISTICSPIRIT，HASAPOWEROFDIRECTLYTARGETINGHUMANBEING’SMINDKEYWORDSCOLORMEANINGFULFORM，EMOTION，MINDSUBJECTIVECONSCIOUSNESS，TECHNIQUEII

簡介：分類號密級UDC編號江西科技師范大學(xué)碩士學(xué)位論文徐悲鴻與林風(fēng)眠的繪畫技法（油畫）比較研究徐悲鴻與林風(fēng)眠的繪畫技法（油畫）比較研究LINFENGMIANXUBEIHONGSPAINTINGOILPAINTINGLINFENGMIANCOMPARATIVESTUDY涂俊指導(dǎo)教師姓名、職稱指導(dǎo)教師姓名、職稱李應(yīng)龍李應(yīng)龍教授教授申請學(xué)位級別申請學(xué)位級別學(xué)科專業(yè)名稱學(xué)科專業(yè)名稱美術(shù)學(xué)美術(shù)學(xué)論文提交日期論文提交日期論文答辯日期論文答辯日期2013年6月7日學(xué)位授予單位學(xué)位授予單位江西科技師范大學(xué)江西科技師范大學(xué)答辯委員會主席答辯委員會主席評閱人評閱人年月日摘要I摘要摘要本文從李應(yīng)龍老師所著經(jīng)驗(yàn)實(shí)踐美學(xué)引論美與自由的技術(shù)操作中的審美實(shí)踐藝術(shù)化特征部分的美學(xué)觀點(diǎn)出發(fā)，對徐悲鴻與林風(fēng)眠的油畫技法角度比較研究。徐悲鴻的油畫作品的繪畫技法從造型上（素描關(guān)系上）的黑、白灰，體現(xiàn)解剖、比例、透視、空間和明暗塊面，結(jié)構(gòu)明確造型扎實(shí)生動(dòng)，各個(gè)傳統(tǒng)性繪畫因素合理到。徐悲鴻在他的繪畫作品中較早引用了西方的透視、比例、解剖和光學(xué)原理等科學(xué)繪畫技巧；他同時(shí)還吸收、繼承了中國傳統(tǒng)繪畫以線造型的因素，西方歐洲傳統(tǒng)繪畫的體系從建立以來有著悠久的歷史發(fā)展脈絡(luò)，從古典主義到學(xué)院派再到新古典主義都凸顯出一個(gè)永恒的繪畫命題具象、寫實(shí)、客觀，徐悲鴻不僅僅繼承西方歐洲傳統(tǒng)繪畫技巧并且發(fā)展了中國寫實(shí)主義繪畫的技巧，為現(xiàn)代寫實(shí)主義繪畫開辟一條寬闊大道。林風(fēng)眠的繪畫技巧則更多的采取以現(xiàn)代畫派與中國傳統(tǒng)繪畫技巧及觀念相結(jié)合，繪畫技巧的豐富顯現(xiàn)出自己表現(xiàn)主義的繪畫特點(diǎn)，間于似與不似之間。他開創(chuàng)出具有中國本土的繪畫技巧語言并為中國近現(xiàn)代表現(xiàn)主義和抽象主義繪畫技巧提供了更多的藝術(shù)形式。本文通過對徐悲鴻與林風(fēng)眠兩位大師的油畫技法造型、空間、色彩、構(gòu)圖等元素的比較研究，從而闡釋兩者對西方油畫技法、觀念的繼承。本文的主旨觀點(diǎn)在于闡明二人對中國傳統(tǒng)繪畫的吸收和發(fā)展，以及對中國現(xiàn)當(dāng)代繪畫藝術(shù)產(chǎn)生的深遠(yuǎn)影響。兩位大師的油畫技法的共同點(diǎn)是由可復(fù)制的繪畫技術(shù)經(jīng)驗(yàn)走向不可復(fù)制藝術(shù)審美經(jīng)驗(yàn)的更高境界。關(guān)鍵詞徐悲鴻；林風(fēng)眠；繪畫技法；技術(shù)經(jīng)驗(yàn)；審美經(jīng)驗(yàn)