| 摘要: | 廿世紀時代的藝術魔術師—畢卡索之各時期的藝術創作作品中、令筆者發現女人在他心目中之地位，婚姻只結了二次；但情人卻占多數，且隨其交往之狀況都留下了創作的痕跡。他有取之不盡、用之不竭的創作精力和揮霍不完的天才。在本論文中，筆者以各時期畢卡索的畫作做一仔細地分析；藉以比較後立體派畫像之表現形式進而當為個人創作之理論根據。本論文分七個章節，除目次、表目次、圖目錄外，第一章緒論分兩小節，第一節研究動機與目的，由學分班開始，接著考入藝術研究所，接觸中西繪畫之理論，吸引筆者自由創作之繪畫風格。第二節研究內容與範圍，藉本論文將畢卡索的人物畫作略提四十二幅，並劃分九期分析敘述之，再深入探討後立體畫派的繪畫理論。研究範圍包括各種西洋透視法則的理論依據，並各列舉畢卡索九期的代表性作品一、二；與介紹許坤成教授所創立之後立體畫派之原則，及筆者17幅，以表現筆者對繪畫之初略認識及創作之歷程。
第二章分二小節，第一節敘述立體主義，第二節分析立體畫派
的代表性人物—畢卡索、(一)敘述畢卡索的生平(二)闡述畢卡索的言
論，是畢卡索以西班牙語發音，而由馬利烏斯‧德‧薩耶(Maliwusih d’Sayeh)所作的筆記，(三)與畢卡索的對話，由克里斯汀‧傑魯伯(Christian Zervos)所匯集的。(四)談及形象與非形象的藝術，包括取悅我們與不被重視的事物。
第三章為畢卡索各個時期之人物畫作探討，第一節介紹畢卡索的各個時期之人物畫作，顯示當時環境之相關作品。第二節畢卡索的女人世界，與他正式結婚的除兩人外，各階段均有伴隨其身旁的模特兒激發畢卡索發揮創作的靈感。第三節列表比較分析畢卡索各個時期之女性畫作。
第四章表現後立體派人物畫作的技法與形式。
第五章呈現筆者自我創作的研練與過程。
第六章列出筆者創作之作品17幅，一一概述每幅繪畫之起源、結構、技法、色彩等。
第七章結論分三部份，(一)筆者的自我創作心得，提出八點。(二)
與畢卡索的心領神會，引述日本岡本太郎的一段話，來談論畢卡索作品的特色。(三)為筆者的感想。最後是附錄、參考書目。
In the twentieth century, the modern art magician, Picasso, through his art innovations of different periods in his life, the writer found out the woman status in his mind; though, he only experienced two marriages, he had lots of mistresses; followed by his love affairs, he had left the world a good many masterpieces. His inexhaustible stamina and his talent for art were so abundant that as if it would have never been used up. In this essay, the writer used Picasso’s works to compare and analyze, by doing this, to probe into the forms and theories underlying in the post-cubism. There are seven chapters in the essay containing a table of contents and displays of pictures. In the introduction chapter, it is divided into two sections; in the first section, the writer discusses the motivation of study and the purposes; starting from studying in the art class with no diploma and, later, enrolled in the art graduated school, the writer contacts the theories underpinning the western paintings, which lead the writer into the world of free styles of origination; in the second section, it is about the research and its range; through roughly exploring forty-two portraits of Picasso’s, and subdividing into nine phases to state and analyze them, the writer goes on a deeper study of the theories undergirding the Post Cubism. The ambit of study ranges from reaching the diversified abstractionism of perspective, to illustrating one or two symbolic masterpieces of the aforesaid phases; furthermore, the writer introduces the principles of the post cubism theories established by Professor Xu, kuncheng, and the works of the writers to delineate the creation process of hers.
There are two sections in the second chapter; the first section is about cubism, while the second one is concerning analyzing Picasso, the symbolic character of Cubism, including (a) Picasso’s biobibliography, (b)expounding his discourse, which was in Spanish and was noted down by Maliwusih d’Sayeh.(c)dialogues with Picasso collected by Christian Zervos .(d)talking about the art of images and non-images, including things pleasing human and trivial.
In the third chapter, the writer discusses the portraits of differ-
rent phases; in the first section, the writer introduces the portraits of different periods, including the works revealing the social situations of that time; in the second section, the writer talks about the women world of Picasso; beside two women formally married him, there were models accompanying him to stimulate Picasso’s inspiration; in the third section, it is about comparison and analysis of the women portraits of different phases of Picasso.
In the fourth chapter, it is about the techniques and forms of post cubism.
In the fifth chapter, the writer presents her study and process of self-innovation.
In the sixth chapter, the writer displays her seventeen paintings and describes their originations, compositions, techniques, colors, etc., one by one.
There are three sections in the seventh chapter, including (a) the writer addresses eight points of what she has learned; (b) through excerpting a dialogue of TALO OCAMODO, a Japanese, to talk about the features of Picasso’s masterpieces; (c) the reflections of the writer’s. And the last part is appendix and references |
