| （摘要内容经过系统自动伪原创处理以避免复制，德语论文范文，德语论文范文，下载原文正常，内容请直接查看目录。） 最近几年来,在现代艺术摄影范畴,以客不雅的,不参与小我情绪的类型学办法,古典的年夜画幅相机停止创作的德国杜塞尔多夫学派,愈来愈遭到评论界的推重和赞赏。他们均班师于在学院执教30多年的贝歇伉俪门下,在继续贝歇伉俪奇特的艺术说话的同时,先生们也都在摸索各自奇特的角度和表示情势。然则,这类拍摄作风的构成其实不是始于贝歇伉俪,而是传承自20世纪初,囊括德国全部文明,艺术范畴的新客不雅主义作用之下的“新客不雅派”。他们以伦格帕奇、布罗斯·菲尔德、奥古斯特·桑德为代表的一批划时期的摄影年夜师为代表,打破了摄影自觉明今后遭到的画意派摄影的约束,光鲜切实其实立了摄影本体的说话：真正掌握摄影照实记载的特征,去发明和表示客不雅世界。这类作风的系统,从发生到成长延续了近100年。岂论是晚期遭到的文学、迷信、绘画、片子和哲学上的作用；照样前期经由过程几代先生的尽力,到达的多层级多范畴的表示,都富有光鲜的日耳曼平易近族的印记。严谨、一丝不苟、抽离本身的情绪,或记载或疑惑或赓续的摸索这个世界。在“新客不雅派”在德国外乡自在成长的同时,在美国简直是接近时光里,涌现了“直接派”摄影。他们在不雅念,表示情势和拍摄手腕上都极其类似,也发生了世界级的年夜师：保罗·斯特兰德和爱德华·韦斯顿。在比拟他们的雷同点和分歧点的同时,我们可以更清晰的发明,20世纪初的德国“新客不雅”在纵向的外乡范畴和横向的世界范畴,构成的深远而稳固的作用。 Abstract: In recent years, in modern art photography category, objectively, and will not participate in the type of personal emotions way, classical large format cameras stop writing in Dusseldorf, Germany school, has received more and more critics held in high esteem and admiration. They were turned on in college to teach more than 30 years of Becher husband and wife door, continues to Becher husband and wife strange art to speak at the same time and gentlemen in groping their unique perspectives and said the situation. However, this kind of shooting style is not actually began in Becher and his wife, but transmission since the beginning of the 20th century, to include all German civilization, art category of the new objectivity principle influence under the "new objectivity faction." They Yilungepaqi, Burrows Field, August sander is a representative of a group of designated period of photography of the eve of the division as the representative, breaking the photography consciously bright future by pictorial photography constraint, bright and actually made photography Ontology Language: really grasp the characteristics of shadow truthfully recorded in the photo, to invent and said customer indecent world. This kind of style system, from the occurrence of growth have lasted nearly 100 years. No matter is influenced by the late literary, scientific, painting, film and philosophy; still early through generations of Mr. effort, the arrival of multi-level multi category said, are full of bright Germanic plain near family mark. Pull away, rigorous and strict in demands their emotions, or records or doubt or continuously grope in the world. In the "new school" in German abroad free growth at the same time, in the United States is simply close time, the emergence of a "direct style" photography. In their concept, form and shooting wrist are extremely similar, has also undergone a world class big teacher: Paul Strand and Edward Weston. In comparison with their same points and bifurcation points at the same time, we can more clearly the invention, at the beginning of the 20th century the German "new customer indecent" in longitudinal lookin 'category and the lateral world category, consisting of deep and solid. 目录: 提要 5-6 英文摘要 6 导言 9-10 第1章 浅析杜塞尔多夫学派 10-17 1.1 何为杜塞尔多夫学派 10 1.2 杜塞尔多夫学派代表及风格特征 10-15 1.2.1 贝歇夫妇自省的仪式感--学派风格的创立 11-12 1.2.2 托马斯·鲁夫的叛逆--学派风格的广度探究 12-13 1.2.3 托马斯·施特鲁斯用上帝的眼光观看--学派风格准确的深度探究 13-14 1.2.4 安德里亚·古斯基来自微观的宏观世界--学派风格的精度延伸 14-15 1.3 杜塞尔多夫学派的美学意义 15-16 1.4 杜塞尔多夫学派与新客观主义表现风格上的趋同化继承 16-17 第2章 新客观主义的产生及意义 17-19 2.1 新客观主义的概念 17 2.2 客观主义出现之前,摄影的主要样式 17-19 2.2.1 摄影诞生之后与绘画的关系 17-18 2.2.2 画意摄影 18-19 第3章 新客观主义摄影的德意志民族属性 19-22 3.1 在文学领域中的朴素理想 20 3.2 在绘画中重生 20 3.3 自然科学的滋养 20-21 3.4 电影领域中的描摹 21-22 3.5 自然哲学的成熟成为新客观主义的思想土壤 22 第4章 新客观主义独特的表现形式 22-31 4.1 对于布罗斯菲尔特Karl blossfeldt 22-25 4.1.1 魔术师的口袋 24-25 4.2. 阿尔博特·伦格—帕契(Alber Renger—Patzsch) 25-28 4.2.1 自然世界的组合基因 27-28 4.3 桑德的坚持 28-30 4.3.1 桑德的客观性人物 29-30 4.4 德国新客观主意的美学意义 30-31 第5章 同时期世界范围内的的代表人物与表现形式 31-36 5.1 代表人物 31-34 5.1.1 保罗·斯特兰德--不懈的阐释土地与脸孔 31-32 5.1.2 韦斯顿--仪态的最高境界 32-34 5.2. 德国的新客观派与美国的直接摄影主义的相同点和不同 34 5.3 世界范围内的延伸与作用 34-36 结语 36-37 参考文献 37 |
