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欲是每个个体的本能,与生俱来,并伴随每个个体一生。我因受其困扰,百思不得其解,又无法逃避,所以用绘画的方式来面对。本文以表现主义绘画流派作为脉络来说起,梳理20世纪初西方表现主义绘画现象,学习并延展,创作了系列作品:《姿态》、《头》。本文结合美术史里的表现主义绘画,和自己创作的作品,作解读和阐释。第一章节是对西方美术史里表现主义绘画流派的梳理,在表现主义流派的大背景下,我的个人作品受其影响;《头》系列绘画,强调个人的情感体验,直抒胸臆,情感饱和而直接。第二章节,着重于对《姿态》系列作品的解读与阐释,是对《头》系列作品的延续与拓展;第三章节的结语部分是“我”整个绘画脉络的反思与总结。《头》、《姿态》系列绘画,其思想源泉来自表现主义绘画,表现主义绘画始于梵高和蒙克,是一种精神诉求至上的绘画流派,梵高以其浓烈饱和的色彩,传达出他对生活的热爱,蒙克的绘画,是对命运不济的对抗,对生命意义的解答。在我的里,我有着对青春,对自我状态的思考:《头》是焦灼、苦情、无奈、困惑之下扭曲的形象,是经济大潮流与宏大体制挤压之下的卑微的生命个体的呈现;《姿态》里的“身体”扭动着,迎合着,似乎与命运、痛苦、毁灭做着亢奋而无耐的挣扎;而我的第三种表达方式是是纸本,纸本绘画语言丰富,自然,表现方式更为自由,而我多围绕《头》和《姿态》这两个大的主题来展开,但由于纸本材料的特殊性,它又独立于油画创作,是自成体系的。在绘制的过程中,有的以笔触的不断重复和交织,来寻求绘画语言的独立与气韵上的贯通,而有的用笔简练,单线勾勒,造型极简,正是:“逸笔草草,不求形似,聊写胸中逸气。”有的借助笔墨晕染,其结果都是想要达成表达上的多元和独立。《头》、《姿态》、《纸本集》系列绘画作品是主题性明确的、冲动的、直接的、延续的、直觉的,多呈现一种表情,不管是面部表情,还是肢体表情。其手法上采取直接书写的方式,一气呵成,最后呈现出来的结果是:一种开放的,可能的画面效果。
To be the instinct of each individual is born with the life of each individual. Because of its distress, puzzled, and I can not escape, so the way to face painting. This article, based on the genre of expressionist painting, traces the phenomenon of western expressionist painting in the early 20th century, and studies and extends it to create a series of works: “posture” and “head”. In this paper, we combine the expressionist paintings in art history with the works we create to interpret and explain. The first chapter is a combing of the expressionism expressionist schools in the history of western art. Under the background of expressionist genre, my personal works are influenced by it. The series of “head” paintings emphasize personal emotional experience, Saturated and direct. The second chapter focuses on the interpretation and interpretation of the series of “gestures”, which is the continuation and expansion of the “head” series of works; the conclusion of the third chapter is the reflection and conclusion of the whole painting context of “I” . Heads and Gestures paintings derive their expression from expressionist paintings. Expressionist paintings begin with Van Gogh and Munch and are a school of painting with spiritual aspirations. With its intense and saturated color, Van Gogh conveys His love of life, Munch’s painting, is an ill-fated confrontation and a solution to the meaning of life. In me, I have the idea of youth and self-status: “head” is a distorted image of anxiety, bitterness, helplessness and confusion, a humble life individual under the tide of economic trends and the grand system “The Body” in “Gesture” twists, caters to it, and seems to be struggling with fate and anguish and destroying excitement and impatience. My third way of expressing is that of paper, paper The language of painting is rich, natural and the way of expression is more free. However, I mainly focus on the two major themes of “head” and “pose”. However, due to the particularity of the paper material, it is independent of the oil painting. Into the system. In the course of drawing, some seek to seek the independence and charm of the painting language through repetition and intertwining of the brushstrokes, while others are simple and simple in outline and simple in outline. They are: , Do not seek the shape, talk about the chest gas. "Some draw with pen ink, the result is to reach the expression of diversity and independence. The head, gesture and paper series paintings are motifs of definite theme, impulsiveness, directness, continuation and intuition, with more than one expression, no matter facial expression or facial expression. The way to take direct writing, at one go, the final result is: an open, possible picture effect.