| 文章拔取人类汗青上具象绘画的两个巅峰时代著作作情势上的略论，从绘画的情势说话视角动手，重要借用视知觉道理剖析，解读绘画著作在视觉上的出现，以便更好的懂得具象绘画的根本道理与手腕。意年夜利文艺中兴与法国新古典主义绘画为我们先人留下了名贵的视觉财富，前辈们过人的才能与名贵经历是我们人类共有的宝藏，睁开对这一宝藏的发掘愿望能对从事具象绘画的艺术任务者有必定的参考价值。全文分红了五个章节，法语毕业论文，第一章是引言部门，说明研究该课题的意义，简述国际外对该范畴的研究现状，同时对两个时代做了汗青学，美学与哲学意义上的概说和两者的关系。第二章是视觉机制的简述，在我们的视知觉中包括了视觉吸收和视觉认知两年夜部门。接上去的第三章与第四章作为并列关系将著作情势分红了两个条理的概念：一是表层视觉情势；二是深层视觉情势。个中第三章是从表层视觉情势动手，法语论文题目，评论辩论了线、外形、明暗在具象绘画中的价值与运用道理。第四章的深层视觉情势与前一章是个绝对概念，睁开了深层视觉中的空间组织构造、组织构造下的力、与深层视觉中的“真实”三方面的剖析。第五章是借用前两章的实际铺垫来停止的艺术著作的综合与比较剖析。结语总结了文艺中兴与法国新古典主义的艺术特色。 Abstract: This paper analyzes the situation of the two peak times of the human history, from the perspective of the form of painting, the important use of visual perception and interpretation of the painting works in the visual appearance, in order to better understand the fundamental truth and the wrist. The Italian Renaissance and French neoclassicism paintings left a precious wealth for the vision of our ancestors, the predecessors of great talent and precious experience is our common treasure, open for this treasure to explore desire to a certain reference value to the figurative painting art work. This paper into five chapters, the first chapter is the introduction section, illustrate the research significance of the topic, the research in the field of the international situation, at the same time to two times the history, the relationship between aesthetics and philosophical sense of both and. The second chapter is a brief introduction to the visual mechanism, which includes the visual absorption and visual perception for two years. The third chapter and the fourth chapter are the two levels of the work in the form of the work: one is the surface visual form; the two is the deep visual form. In the third chapter, from the surface visual form, comments on the line, shape, light and shade in the value and application of the figurative painting. In the fourth chapter, the deep visual form and the first chapter is an absolute concept, which opens up the space organization structure, the strength of the organization structure, and the "real" three aspects of the "real". The fifth chapter is the comprehensive and comparative analysis of the art works which are to be stopped by the two chapter. The conclusion sums up the artistic features of the Renaissance and the French neo classical. 目录: 摘要 3-4 ABSTRACT 4-5 第一章 引言 8-15 1.1 意大利文艺复兴艺术叙说 9-11 1.2 法国古典主义艺术叙说 11-12 1.3 二者的关系 12-15 第二章 视觉机制简述 15-18 第三章 表层的视觉形式略论 18-45 3.1 表层视觉形式之线条 18-30 3.1.1 线条是视觉艺术中造型的重要手段与要素 19-26 3.1.2 线条是美感产生的源泉 26-29 3.1.3 线条承载着艺术家的情感与智慧 29-30 3.2 表层视觉形式之形状 30-36 3.2.1 形状的应用是通结构特性来界定 30-31 3.2.2 形状的不同秩序安排能带来不同的视知觉体验 31-36 3.3 关于艺术家而言的明暗 36-45 3.3.1 固有明暗 37-39 3.3.2 造型明暗 39-45 第四章 深层视觉形式略论 45-53 4.1 有意味的组织结构 45-47 4.2 深层视觉形式中力的体验 47-49 4.3 深层视觉形式中的真实 49-53 第五章 绘画著作形式略论 53-64 5.1 达·芬奇与波提切利著作略论 53-57 5.2 安格尔著作略论 57-61 5.3 安格尔与拉斐尔的圆弧形构图魅力 61-64 结语 64-69 参考文献 69-70 附录 70-71 致谢 71-72 |
