| 十九世纪的法国,一场大张旗鼓的版画中兴活动如火如荼,版画艺术的位置也得以进步。是以,这一时代被美术史学家称为“版画中兴时期”。比拟较晚期单一情势的雕凹线铜版画,“中兴时期”鼓起的腐化铜版画更具发明性的表示手段和自在性的内容情势,使铜版画的蚀刻技法加倍完美和成熟。表示手段和内容情势的多元化,使得铜版画完全解脱了复制的功效,成为画家抒发情绪的一种艺术手腕,以颜色著称的晚期法国印象派画家也热中于铜版画的创作。法国印象派油画已为人们熟知,而同时代法国的版画却鲜有人熟悉,但它活着界绘画史,特别版画史上有着非同平常的意义,经由过程对法国印象派画家的版画创作的懂得,可让我们更周全地熟悉谁人时期艺术家兼收并蓄的广博肚量与不凡的发明力,笔者以为“印象派画家的版画”这一说法比“印象派版画”更适合。法国印象派画家的版画,在摄影术、工业化冲击下,版画本身的魅力也愈来愈为艺术家所熟悉。同时,他们的版画著作,为推动版画的成长起到了积极的感化。是以,评论辩论印象派画家的版画创作措施,对周全地懂得法国印象派画家的全部艺术创作进程可以起到积极地增进感化。 Abstract: In nineteenth Century France, a print ZTE put up a pageantry of print art activities like a raging fire, position to progress. Is, this time by art historians called "the era of printing and zte". Compared with the single form of the single state of the carved concave line copper engraving, "ZTE period" of the corrosion of copper prints more creative means and ease of content, so that the etching technique of copper engraving more perfect and mature. That means and content diversification situation, making etchings completely free replication, become a kind of artistic skill painter expresses emotions, with color for advanced French impressionist painter also devoted to the creation of printmakings. French impressionist painting has been well known, and contemporary French prints but few people familiar with it, but the world painting history, especially the history of printmaking has a remarkable significance, through the process of printmaking to understand French impressionist, can make us more comprehensive familiar artists who eclectic period broad tolerance and extraordinary creativity, the author thought that the term "Impressionist prints" is better than "Impressionist prints". The prints of the French painters of the French, in the impact of photography, industrialization, the charm of the print itself is also more and more familiar to the artist. At the same time, their print works, to promote the growth of print has played an active role. It is to comment on the method of the creation of the art of the art of the painters in the art of the school. 目录: 中文摘要 5-6 Abstract 6 绪论 8-11 一、选题的目的和意义 8 二、国内外探讨近况 8-10 三、探讨思路与措施 10-11 一 印象派画家的版画创作缘起和发展 11-16 (一) 印象派画家的版画创作缘起 11-13 (二) 印象派画家的版画创作发展 13-16 二 法国印象派画家的版画创作方式 16-51 (一) 法国印象派画家的版画创作描述 16-38 (二) 后印象派画家的版画创作描述 38-51 三 法国印象派画家的版画审美取向 51-65 (一) 创作题材及技法所显现的的审美取向 52-57 (二) 创作中的东方因素 57-61 1. 中国绘画元素的介入 57 2. 日本彩色版画的借鉴 57-61 (三) 版画著作的表现手法的革新意义 61-62 (四) "有失本色"的版画同样精彩 62-65 1. 印象派的灿烂色彩与版画单一色调的情感表达 62-63 2. 绘画内涵容量的缩减与版画无限的宽容态度 63 3. 瞬间色彩坚持者的日落与版画从容自然的继续 63-65 结语 65-66 参考文献 66-69 致谢 69 |
