| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 德国表示主义绘画是延续数百年欧洲古典绘画的精力传统的表示，是精力艺术的极端化表现。是一种最年夜限制剥离了掩盖“外套”而直面实际的绘画。在表示手段上，平日以诡异的外型元素提醒心坎的抵触，德语论文范文，德语毕业论文，企求以最无力的情势来反应人与天然世界的关系。同时，一切的外型元素又都承载着繁重的逻辑思虑，力争使著作经由过程内部世界出现出纯洁的心坎精力世界。德国表示主义艺术家以德意志平易近族独有的感性求证的办法提醒了艺术实质，妄图阐释艺术的真实。对颜色、线条、情势和绘画空间二维立体性的摸索，叫醒了人们对无机性命、真实之美的感知。从情势上和心理上懂得天然世界中的情势和空间，转向了对艺术实质中纯洁情势和可视空间的观赏和摸索，研讨的是一种笼统的视觉情势构造。在20世纪的艺术成长中，它代表了从实质上对峙于情势研讨的另外一条头绪。 Abstract: Germany said that the painting is a continuation of centuries of European classical paintings of the spirit of the traditional representation, is the extreme manifestation of the spirit of art. Is one of the most major restrictions to peel off the cover of "coat" and face the actual painting. In said method, normally to the strange appearance elements remind heart conflict and beg the respond to the relationship between man and nature of the world with the most weak situation. At the same time, all the exterior elements and carries heavy logical thinking, and strive to make the works through process internal world appear out of the pure heart of the spiritual world. Germany says feminist artist verify to German ethnic unique perceptual way reminded art essence, attempt to explain the art of true. The color, the line, the situation and the painting space two dimensional stereoscopic exploration, has awakened the people to the inorganic life, the true beauty perception. From the situation and psychological understanding of the natural world in the form and space, turned to the purity of the substance of the art and visual space to watch and explore, to explore the structure of a general visual situation. In the art of the twentieth Century, it represents another clue to the substance of the situation. 目录: 摘要 4-5 ABSTRACT 5 引言 7-9 第1章 图式来自自然的启示 9-14 1.1 自然界的图式 9-11 1.2 源于自然的绘画图式的演进 11-14 第2章 德国表现主义的绘画图式 14-34 2.1 图式在人与自然的关系中阐述 15-21 2.2 关注灵魂的自由与上帝的启示 21-27 2.3 图式具有非理性、神秘主义的色彩 27-34 第3章 德国表现主义绘画图式理想与精神 34-42 3.1 追问艺术的本质--精神表现 34-36 3.2 绘画图式语言形式的自明性显现 36-42 3.2.1 简洁的线条 37-38 3.2.2 富有张力的色彩 38-39 3.2.3 空间的二维平面形态导入造型的形式 39-42 结语 42-44 参考文献 44-45 致谢 45 |
