海·渔民 - 光影和色彩的生动性Sea fishermen light and color 摘要:（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，西语专业论文，内容请直接查看目录。） 不管是在平常生涯,照样在艺术范畴中,光影的散布都能赞助我们掌握物体的外形,表示物体的质感。本文试图援用菲罗波诺斯“经历轨则”、“阿佩莱斯的线”和“侧影法\"来讲明光线的运用可以或许令物体凸起,比本来没有运用光和影的画要加倍具有活泼性。经由过程罗列两为画家,印象派画家莫奈和西班牙“阳光画家\"索罗亚反应海边生涯的著作,剖析他们对光影和颜色的运用,总结出合适本身创作的绘画手段。同时剖析创作的题材、表示手段,证明激烈光照下的场景比普通光源下更具活泼性。别的著作论述中提出表示性颜色和速写性笔触,运用这两点,找到本身的绘画说话。 Abstract: No matter in the ordinary life, so in the art category, the distribution of light and shadow can help us to grasp the object's shape, the texture of objects. This paper attempts to invoke Philo ponus "experience rail", "apelles line" and "silhouette method " to explain the light application can or Xu order convex objects, than would have been without the application of light and shadow painting to double with lively. Through the process of listing two painters, impressionist painter Monet and Spain "sunshine painter " Sorolla reaction sea life works, analysis of their use of light and color, and summarizes the suitable for their own creative painting means. At the same time, it is also the subject of creation, which means that the scene is more lively than ordinary light. The other works discussed in the proposed representation of color and sketch strokes, the application of these two points, to find their own painting to speak. 目录: 摘要 5-6 Abstract 6 第一章 绪论 8-12 1.1 菲罗波诺斯“经验法则” 8-9 1.2 侧面照明法 9 1.3 阿佩莱斯的线 9-10 1.4 印象主义的光影与色彩 10-12 第二章 瞬间光影和色彩的捕捉 12-15 2.1 莫奈对海边瞬间光线和色彩的捕捉 12-13 2.2 索罗亚对海边瞬间光线和色彩的捕捉 13-15 第三章 创作阐述 15-17 3.1 创作《海边系列》原因 15 3.2 表现性色彩 15-16 3.3 速写性的笔触 16-17 结论 17-18 参考文献 18-19 附录 19-26 致谢 26 |
