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作者:林芊佑
作者(英文):Qian-you Lin
論文名稱:「與光影共舞」林芊佑繪畫創作論述
論文名稱(英文):"Dancing with Light and Shadow" Lin Shuyou's Painting Creation
指導教授:湯運添
指導教授(英文):Tang Yuntian
口試委員:林永利
胡朝景
口試委員(英文):Lin Yongli
Hu Chaojing
學位類別:碩士
校院名稱:國立東華大學
系所名稱:藝術與設計學系
學號:610774013
出版年(民國):109
畢業學年度:108
語文別:中文
論文頁數:76
關鍵詞:光影色彩明暗冷暖關係印象派
關鍵詞(英文):Light and shadowcolorLight and darkCold and warm relationshipImpressionism
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 光影往往能影射出人物隱藏的特徵,表現藝術內容的所在。光影在繪畫藝術上,越趨重要,製造整個畫作的氛圍。創作者以光影效果的處理,在不同的時期,繪畫的形式與藝術風潮也不同;以藝術處理的不同角度追溯歷史,說明影子色彩的表現手法與光、影效果在繪畫史上的變革。讓學畫的人,想對光影的處理方式與手法,想進一步了解的人,能更快速掌握與明膫。
  19世紀,當時大多數的印象派藝術家,發現室外光線對顏色的變化更加豐富。當時便興起應該到室外畫畫的風潮。台灣早期,因日本文化及西洋風潮,而與國際接軌。於是筆者想研究在寫生的風潮下,作為論文的探討重點,以作為日後繪畫的參考依據。油畫創作常常以油畫寫生的方式產出作品,畫家以親身的經驗、體驗真實的生活及自然的樣貌來呈現,在自己內心裡深受感動鑑賞美的能力,以豐富感受提高創作的能力,學會欣賞別人的作品,從中學會西方油畫大師三位典範代表人物的繪畫風格與寫生創作手法,於繪畫上色彩冷暖關係的鋪陳、處理明暗的技法呈現在畫面。
  在中西文化不斷的衝擊下,因著藝文素養豐富性,創作的多元性與自由的提升,寫生從自然再現的向度,提高至成為情意表達的載體。在科技的攝影技術進步、普及之後,寫生在繪畫的價值上,受到質疑,但藝壇上仍是佔有一席之地。期盼經由此研究,有助筆者於繪畫作品的產出與寫生的能力,期望能更上一層樓。
Light and shadow often have the ability to shine light upon the hidden characteristics of people, displaying their artistic qualities. In painting, light and shadow are incredibly important, as they create the entire atmosphere of the work of art. Throughout different eras, artists have used the effects of light and shadow, which has led to different styles of painting and different trends in art. Using the different styles of art as a means to date work within a historical conte×t, and by e×plaining the technique used to e×press the colour of shadows and light, we can see the transformation that has taken place in the history of painting in terms of how shadows are e×pressed. It lets those who are studying painting and those who are interested in learning more about how to create shadow and light and their techniques, better able to quickly grasp the concepts and to gain a deeper understanding.
In the 19th century, most artists of the Impressionist movement discovered that outdoor light gave rise to colour differences that were more abundant. During that time, there arose a trend that one should paint en plein air. In Taiwan’s early stages, due to the influence of Japanese culture and the trend of the West, there was an e×tent of internationalisation. Hence, the author wanted to research the trend of drawing and painting en plein air as the main topic of investigation in her thesis, as well as to form a basis of reference material for future creative work. Oil paintings are often borne from painting from life, hence the artist uses her own real-life e×periences to feel for oneself how real life and nature are displayed. In her own heart she absorbs deeply, appreciates, and is moved by the power of beauty. She uses this abundance of emotion to improve her ability to create. She has also learned to admire the work of others, from within she has mastered the style and technique of painting en plein air of the three representative masters of Western oil painting. The relationship of arrangement between warm and cold and the way light and dark are used, is displayed within the works of art. Under the constant conflict between Chinese and Western culture, and due to the abundance of accomplishments in the artistic realm, the variety of different artworks and an increase in freedom, painting en plein air began from the desire to depict the natural surroundings, and developed into a vehicle to display emotions. As there have been technological advances and a spread in popularity of photography, the value of drawing from nature has been called into question. However, it still plays a role within the art world. The author hopes and anticipates that through this body of research, it helps her ability to create paintings and to be able to draw from nature. She hopes that the research will enable her to reach new heights.
第一章 緒論 1
第一節 創作背景與動機 1
第二節 創作目的與研究方法 4
第三節 研究架構與創作流程 6
第四節 創作研究範圍與限制 8
第二章 文獻探究-繪畫史中的光影 9
第一節 藝術家掌握光影的表現分析 9
第二節 印象派以前藝術家的光與影表現 20
第三章 學理基礎與創作理念 43
第一節 學理基礎-以印象派為主 43
第二節 創作理念 43
第三節 創作方法-油畫寫生 44
第四節 創作步驟 45
第四章 創作作品解說與分析 49
第一節 解說與分析,歸納整理如下 49
第二節 光源分項說明 50
第五章 結論與建議 71
參考文獻 73

中文文獻
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帕拉.拉培利Paola Rapelli著,謝慧青譯,《Art Book莫內》,貓頭鷹出版社,2000
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傅晨陽著,《解構光與色彩:經典印象派作品色彩分析》,佳魁資訊,2011
詹姆士.葛爾尼 James Gurney著,賴妙淨譯,《色彩與光線》,如何出版社,2015
(英)E.H.貢布里希著,孫萌(主編),《陰影:西方藝術中對投影的描繪》,重慶大學出版社出版,2016
曾長生著,《林布蘭特繪畫光影魔術師》,藝術家,2016
斯特凡諾.祖菲Stefano Zuffi著,蔣文惠譯《天才藝術家-林布蘭》,閣林文創股份有限公司,2016
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英文文獻
Richard Ormond/ Elaine Kilmurray,《John Singer Sargent The LATER PORTRAITS》,Yale University Press,出版日期:2003

西班牙文獻
《Sargent/Sorolla》,SARGENT. SOROLLA,LLORENS, Tomás (Comisario),Published by Fundación Colección Thyssen-Bornemisza, Madrid (2006)。

論文文獻
◎於玲玲,期刊《油畫寫生不能丟》,南通大學藝術學院,2012.08.08
◎李昆侖,期刊《對油畫寫生的再認識》,池州學院學報,2010.08,第24券,第四期

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