論克林姆風景畫作的創作思維及表現技法

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Title:	論克林姆風景畫作的創作思維及表現技法
Authors:	許淑婷
Contributors:	美術學系
Keywords:	克林姆分離派新藝術
Date:	2010
Issue Date:	2011-11-28 13:09:01 (UTC+8)
Abstract:	古斯塔夫‧克林姆（Gustav Klimt 1862-1918）是分離畫派（Secession Art）與新藝術（Art Nouveau）時期的重要畫家之一，雖然如此，但克林姆的畫作卻經常引起各界多樣的爭議與話題，因而克林姆在西洋藝術畫壇上存有一席之地。不過，他的名聲卻是好壞褒貶參半，而且他所留下的畫作確實也影響後世深遠，因此筆者就以克林姆作為此篇論文的研究對象，針對克林姆的風景畫作，深入地進行畫作的研究與研練他的革新創作表現技法，希望藉由克林姆風景畫作的探討來替克林姆平反一些聲譽，並使筆者的油畫創作能有一大的提升。克林姆的風景畫相當地獨特，因為他已拋棄了以往傳統風景畫中的三分之一水平線之構圖形式，以及近景、中景、遠景之畫面空間處理手法，而採用正方形見方的畫幅；裝飾性的破碎筆觸與色彩；升高水平線的構圖和「近距離視點」的空間處理手法，使得空間的遠近關係消失，取而代之的是一種空間凝聚的寂靜感。克林姆經過精心設計後的風景畫作像是大幅壁毯或室內畫，讓觀賞者與畫作間頓時產生了另一種距離感，甚至將自然界的景物密封在畫面中，使得稍縱即逝的自然界，一瞬間變成永恆的天堂。筆者在自我的油畫創作中，試圖採取這樣的模式，把自己從小生長的澎湖故鄉，用有別於一般人的角度和構圖去呈現之，藉以表達出筆者思念故鄉的情感與自我創作表現技法的提升與革新。本論文共分為六個章節，其大綱如下：第一章緒論第二章克林姆的生平與繪畫風格第三章克林姆風景畫作之解析第四章自我創作剖析第五章作品自述與賞析第六章結論關鍵詞：克林姆、分離派、新藝術 Gustav Klimt (1862-1918), an Austrian Symbolist painter, was one of the important artists founding ‘Secession Art’ and was also active during the period of Art Nouveau. In spite of his crucial role, his paintings often gave rise to various kinds of controversies and talking points. Thus, his paintings now have an important position in Western art. His reputation indeed combines both praise and notoriety at the same time. However, his works have had a lasting and profound influence. In this thesis, the author focuses on this painter and his landscape paintings as a research subject and makes an in-depth research to not only his paintings but also his innovative and creative and expressive techniques. It is hoped that, through such an exploration, Klimt’s good reputation can be restored in some way. Meantime, the author’s oil paintings can be better appreciated after Klimt’s creative thinking and painting techniques are realized. Klimt’s landscape paintings are very unique. The reasons are: giving up a traditional landscape paintings’ arrangement of one-third horizontal form of composition and a spatial approach for treatment of near ground, middle ground and distant ground; making paintings in square shapes; broken strokes and colours in a decorative nature; rising levels of horizontal lines in compositions; and using a spatial treatment of the near-distance view to narrow relation between far and near distances down to zero and then create a sense of tranquility of condensed space. Klimt’s landscape paintings with elaborate design look like hanging tapestries or interior paintings. They can suddenly give a sense of distance to viewers and even seem as if scenes of nature are locked inside the frames. For these reasons, fleeting nature can be immediately transformed into an eternal heaven. The author in her oil paintings also tries to adopt Klimt’s mode. She would like to focus on Penghu where she was born and grew up and represent it in a special angle and composition approach different from other people in order to express her personal affection towards her hometown and enhance her techniques which help her creativity and expression and create some novelty. The thesis has six chapters, titled as follows. Chapter One Introduction Chapter Two Klimt’s life and painting styles Chapter Three Analyses of Klimt’s Landscape Paintings Chapter Four Analyses of Authors’ Paintings in Paintings Chapter Five Explanation of and Look at Authors’ Paintings Chapter Six Conclusion Key Words: Klimt, Secession Art, Art Nouveau
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