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1926年到1935年,是林风眠留学归国后面对中国现实,逐步确立艺术观与艺术形式探索方向的关键时期。此阶段的作品生动地揭示出画家在其艺术成熟期到来之前的艺术发展脉络和所面临的问题。本文从形式分析入手,揭示其形式探索由表现主义手法到几何化、单纯化手法的变化过程,进而阐释对其形式探索有着内在引导作用的艺术理想的内涵,以及他从克莱夫·贝尔的理论和塞尚的艺术受到的启发而形成的形式认知。在此基础上,进一步探讨如何认识此阶段在林风眠整体艺术历程中的位置、价值,其艺术的精神特质及在研究方法上的启发意义。
From 1926 to 1935, it was a crucial period for Lin Fengmian to face the Chinese reality after returning from studying abroad and to gradually establish the exploration direction of his view on art and art. The works of this stage vividly reveal the artist’s development context and problems before the artist matures. This article begins with the formal analysis, reveals the process of its form exploration from the expressionism to the process of geometry and simplification, and then expounds the connotation of the artistic ideal which intrinsically guides its formal exploration, as well as from Clive Bell’s Theory and the enlightenment of Cezanne’s art. On this basis, we should further explore how to understand the position, value, spiritual characteristics of this art in the stage of Lin Fengmian’s artistic process as a whole, and its enlightenment on the research methods.