| 摘要: | 中文摘要
繪畫藝術本就以形體與色彩的呈現為要旨，從古典形式的寫實美轉化到現代繪畫藝術之簡約表現，皆被一波波不同形式的藝術運動所牽引著，藝術家們經過自我創作的洗禮及主觀創作思維的考量，使得繪畫形式可一再地加以改造或創新。筆者深被絢麗的色彩所吸引，尤以20世紀初野獸派(Fauvism)的用色技法，以及德國表現主義(Expressionism)與奧菲主義(Orpbism)等著重於表現的畫派為最，它們皆有成熟的色彩表現技法，促使筆者試圖藉由這時期的經典畫作之創作方式來分析藝術家的「色彩」運用技法。
本論文探討內容透過20世紀初的法國野獸派與德國表現主義的藝術家之作品及理論思維，重新調整自我創作上的思考模式。除此之外，亦不忘以「色彩」來探討繪畫作品與現實之間所欲彰顯的互動能量，並汲取畫家們的繪畫創作體驗與心靈感受，藉以表達出自我的創作情感，以及色彩的揮灑效應。筆者除了透過色彩所具有的諸多特質，來統一畫面色彩與空間的和諧性之外，更以紅外線感溫模式( Infrared temperature induction)來強化畫面主題，藉以突顯主題。本研究所欲尋求的，即是那蘊含於生活繪畫中更純粹、更恆常的視覺美感，以及自我繪畫作品中那必備的豐富內涵、表現張力與生命力。
Abstract
Essentially, painting art is using form and color as the substance of presentation. From realistic aesthetics in classical form transforming into the simple expression of modern painting art was completely drawn by a numerous wave-like artistic movements of different forms. Artists through self-baptism and subjective considerations of creative thinking render painting form to be transformed or innovated repeatedly. The author is always deeply attracted by brilliant colors, particularly the color techniques of Fauvism in the early 20th century, and such painting school as German Expressionism and Orpbism which focused on expressions, and had matured color expression techniques. Accordingly, the author tries to analyze artists’ techniques in use of “color” in terms of the creation way of classic paintings in those periods.
The contents explored in this thesis are to readjust the thinking mode of the author in creation, through the works and theoretical thoughts of artists of French Fauvism and German Expressionism in the early 20th century. In addition, the author does not forget using “color” to probe into the interaction energy to be demonstrated between painting works and reality, and absorbing artists’ experiences of and feeling about painting creations so as to express the author’s creation feeling and the effect of color techniques. Apart from unifying the harmony between color and space in the picture, through various features of color, the author applies Infrared temperature induction to strengthen the theme of painting so as to highlight the theme. The object this research intended to look for is just the purer and more constant visual aesthetics contained in painting of life, and abundant contents, expression of tension and vitality necessary for self-painting works. |
