Introduction keywords: modernization, modernism, academic school, Sharon, impressionism, symbolism, romanticism, Turner.

The first section, the crisis of academic school.

The essence of modernism is a response to social, political and economic changes, and it is also a critical innovation activity. Angel is a representative painter of neoclassicism after David, but he has started the process of artistic modernization. French romanticism with Delacroix as its core grew up in the struggle with academism and classicism. They emphasize artistic fantasy and passion, the expression of emotion and personality, and the contrast between color and tone. In Courbet's view, the highest principle of realism is to describe the truth of life. A real artist belongs to his own era and accurately captures his own characteristics. Manet, on the other hand, is aware of the deeper mockery of traditional reasons.

One, angels

Learn from nature. Angel's dependence on the real nature made him overturn David's warning and cultivated potential factors for the birth of realism. It not only emphasizes the importance and necessity of learning from nature, but also thinks that real artists should have considerable independence and judgment in front of nature.

The beauty of art comes from the collection of typicality, and the truth of art comes from giving the typicality real expressive force and the insight of the artist's thought, so that the works originate from nature and are higher than nature.

Learn from tradition. Painting inspiration is also indispensable.

Sketch and color. Sketch school.

Second, Delacroix

The source of painting theme. It is the stupidest thing to find painting themes from the circles of ancient Greece and Rome. The smart thing is to wander in the world of books and draw inspiration, and then draw paintings under the guidance of imagination and inspiration.

About imagination. He regards painting as a literary theme and romanticism as an imaginary movement. He highlighted the spiritual value in painting, thus reducing the attention to painting itself. He put the reality that constitutes art works into a symbolic value system and attached great importance to his imagination with an almost fanatical attitude. Imagination is actually a kind of spirit, an artist's exploration of nature and life, which is related to painting and formalized in painting, and is a materialization of thinking that will eventually belong to the philosophical system. Only the painting expression that solidifies thoughts on canvas is the most valuable. As for pure formal elements, they are nothing more than passing clouds.

Sketch and color. Imagination is always done with the help of its color. If Delacroix follows instinct and impulse in sketch, then he follows rigorous science in color.

Third, Courbet.

In the confrontation with the falsity of classicism and the fantasy of romanticism, realists emphasize the authenticity of art, demand that art must reflect the original appearance and characteristics of life, and advocate that painting can only show what the eyes can see directly. A real artist is a person who accurately captures his own characteristics with his own time.

Volume and color. His thick layered techniques make colors reflect each other, close to the modern new way of feeling, and indicate the arrival of a new era of art.

The significance of individuality and freedom to art He strives for freedom of thought when painting. He believes that the only judge of painting evaluation is the artist himself. Artists don't consider the creed of art for the sake of art when painting. He is just a painter, a painter who paints to express his thoughts.

Four, MANET

Subvert tradition. He broke the accepted form with themes and traditions. He is an innovator in the true sense, which is based on tradition and anti-tradition.

Criticism of nature. Without nature, you can't draw it or make it up. Get from nature, deepen and improve on the basis of nature, and finally show the artistic secret and nature behind nature.

Section two, Impressionism.

First of all, Monet, the father of impressionism.

It is the most perfect embodiment of external light expression and color revolution in art.

The study of light. Light and color blend, and the foggy picture is bolder and more breakthrough. Forget the object in front of you. They are just color blocks.

Real hallucinations. Monet's paintings embody two intentions, namely, the visual authenticity and the decorative nature of the inner beauty of things. Color blocks and brush strokes once again have their own logic, suggesting some personalized technical expressions. In painting, nature is not only the object to be studied, but also the deviation from the object itself.

The transformation of subjective and objective identities. The talent of impressionist painters lies in constantly changing their subjective and objective identity cards. He is not a completely objective representation of things, but a product of the tension between subjective and objective. It is a primitive, pure and true "unconscious thing". There is no color in nature, everything is the product of light.

Second, Cezanne-the father of modern painting

Practice precedes theory. I decided to work quietly until the day when I thought I could defend my exploration in theory.

The relationship between painting and nature. His painting is based on nature rather than theory. He does not advocate capturing the light and color changes of natural moments like impressionist painters, but hopes to show the structure of nature and make a subjective analysis and summary of nature. Machining objects with cones, spheres and columns. He regards the sense of space in traditional painting as a kind of pseudo-sense of space, and advocates using color itself to replace the sense of space to express the sense of depth. At the same time, the external light that expresses the sense of space no longer exists, and the light in the picture should be realized by mutual reflection of colors.

The third part, symbolism

First of all, Baudelaire, the soul of symbolism.

Symbolism theory.

Symbolism was born to oppose realism, especially Zola's naturalism. It was originally just a literary movement that originated in Paris. Later, it penetrated into other countries and other artistic fields.

Symbolism is to express dreams. They do not deny the objective world, but believe that there is a spiritual world outside the objective world. And this spiritual world is also needed for human survival.

On the modernity of art. He believes that art has modernity and there is no absolute eternal beauty. More appropriately, absolute eternal beauty is just an abstract concept extracted from different general expressions of beauty. Those outstanding portraits have been passed down to this day because they dressed themselves with the costumes of that time, and their posture, eyes and smiles also belonged to that era, so the whole picture was perfect and harmonious.

Second, paul gauguin.

Integration theory. The basic idea of Bona's comprehensive art theory is that imagination maintains the basic form of things, and this basic form is the simplification of perceptual images. Memory can only keep meaningful things, which is symbolic in a sense. Gauguin said that impressionism painted things under the eyes, not mysterious things in the depths of the soul. Don't draw too much, art is an abstraction. We are just sailing on a ship with imperfect imagination, and infinite time and space can be more pondered. Trees should be as green, shady and blue as possible, and should not be limited by realism.

On primitive art I want to get rid of the influence of civilization. I just want to engage in very simple art.

Three. Van Gogh

Painting expresses soul and emotion. Van Gogh believes that the academic school, painting the human body and proportion is impeccable but lifeless, and the most important thing in painting is to express the soul. Painters should draw what they are moved by.

Painting should be realistic. But Van Gogh's truth is not the naturalistic method advocated by Zola. He used shapes and colors to express his true feelings about what he painted. This suits his purpose, he exaggerates the appearance of things.

Fourth, Aurel.

He believes that there are two opposing trends in art, realism and idealism. The purpose of realism is to present the appearance and sensory appearance of things. Idealism is purer and more superb, and the highest art can only be idealism. Turn ideas into a special language to express them.

Conceptual art is real and absolute art.

He summarized the aesthetic view of symbolism into five points.

It is ideological because its only ideal is to express ideas and concepts.

It is symbolic because it expresses ideas through various forms and symbols.

It is comprehensive, because it displays these forms and marks through universally understandable techniques.

It is subjective, because what is described cannot be regarded as an object, but the existence of ideology seen subjectively.

It's decorative. Strictly speaking, it is like a decorative painting conceived by Egyptians, Greeks and primitive people. A subjective, comprehensive, symbolic and ideological artistic expression.

The fourth part, Ruskin's aesthetics.

First, Ruskin's Modern Painter

British art critic.

Painting should be realistic. Good art seldom imitates. One is to observe the facts, and the other is to show people's design and prestige by telling the facts. Art can only exist in these two kinds of unity.

Oppose artistic patterning. Impressionism wants to show the changes of natural light and shadow, and Rogers' impression is based on comprehensive knowledge. To think about natural rationality, artists need to reveal the mystery of nature through works of art, and this process is also like a process of scientific argumentation.

On the one hand, the contradiction of Rogers' aesthetic philosophy is to distinguish beauty from reality and reveal the driving forces of history and nature according to the results of scientific observation. On the other hand, beauty is defined as a pure concept, which is the reflection of human soul to God. He is the product of art to economy and politics, as well as spirit and environment.

Second, william morris.

Roggins' ideas also influenced British design, and william morris was best able to combine Roggins' artistic ideas-from pleasant works-with beauty and function. Morris agrees with Roggins and opposes the mechanized production and the popular tendency of art for art's sake brought by the industrial revolution.

Morris believes that the scope of art is not limited to painting and sculpture, and its main part should be practical art, and tries to practice Rogers' view on handicrafts in the commercial field.

Art and industry. Roggins thinks that life without industry is evil, and industry without art is barbaric. Morris hates mass production that lacks artistry and mechanization. He saw that industry separated designers from producers, which prevented designers from making functional design plans and workers from giving full play to their creativity in the production process.

The pleasure and beauty of art Morris believes that the industrial economy makes people's lives increasingly dehumanized, and the highest realm of artistic practice is pleasure rather than responsibility. Perfect art is an art that brings happiness. Even if creative activities are not helpful to morality, they are good in themselves and can also produce pleasure.

Art and social system. Morris believes that art will bring about drastic social changes and destroy the industrial and capitalist systems. The new era will be based on the value and dignity of individuals. Workers in this era are all artists.

Three, Whistler

He clearly agreed with art for art's sake and was the leader of the aestheticism movement. He believes that the goal of art has nothing to do with the improvement of morality, and aesthetic power is the only thing that people take seriously in their lives. The task of an artist is to pursue beauty, not truth.

Art and nature. In his view, a painter is as important to a pianist as a piano. He plays on musical instruments and creates works with different purposes and styles for use. The task of an artist is to express nature, not to imitate it.

It belongs to music. He combined the expressive power of painting with that of music. Take musical terms as the theme of painting.

Fourth, walter pater

The representative figure of British aestheticism movement theorist who works for art's sake.

He believes that art should express ideas, but he also believes that feeling is the influence of everything on personality, and only those who hold this personality can become artists who successfully express various feelings.

He believes that the meaning and goal of art is art itself. Art is the expression and method of beauty.

The fifth part, the discussion of diversification.

First of all, cultural historian Buckhart studies European art history and humanism.

Italian Renaissance culture established Buckhart's position as a historian. According to his standards, Renaissance Italy formed a period comparable to Athens in Pericles, and it was also the main creative force in all western civilizations. He also summed up the unique political environment in which the Renaissance first took place. Outstanding Italy has produced a cultural revolution, which can be manifested in customs, education and art. He emphasized the uniqueness of the Renaissance, which was not only an ancient renaissance, but an Italian genius united to conquer the western world.

The meditation on history can best illustrate Buckhart's connection with this view. The true value of society must be measured by their artistic quality. He asserted that art is the most outstanding and mysterious creation in the human spirit. He pondered the reasons for the balance of artistic production in social development, but ruled out the role of big education. He believes that university specialization mainly advocates exaggerated and irrelevant things, and education has no effect on genius. Compared with the Renaissance, modern people can neither create nor appreciate great art because of their lack of faith.

Second, Dana

Factors affecting art Philosophy of Art puts forward that race, environment and times affect the nature and appearance of all material and spiritual civilizations, and the production of artistic works also depends on it. The need to produce great works of art has two conditions. First, spontaneous and unique emotions must be very strong and can be expressed without scruple, without fear of criticism or guidance. Second, there should be sympathy around you, and there should be similar ideas in the outside world to help you all the time, so that some vague ideas in your heart can be nourished, encouraged, matured and spread. Artists and arts depend on social customs, laws and national characteristics just as crops depend on climate, soil and weather.

Art and imitation. Art is imitation, not reproduction. It is to express its essence and main characteristics, so that the emotions occupying the core position are clearer and more vivid. His understanding of the individual artist also shows the characteristics of mechanism, and he believes that people create like other animals.

However, it is correct to think that a work of art is not isolated, so to understand a work of art, we must put it in its environment. This environment includes other works of Uni-President artists, colleges and groups to which artists belong. The environment in which artists' artistic interests are formed, etc. Then he exaggerated the role of the environment and ignored the artist's initiative.

Three, Zola

The representatives of naturalistic literary creation theory are influenced by Comte's positivism philosophy and Bernard's experimental medicine. He claimed that this experimental novel was designed to transfer Bernard's thoughts from medicine to literature. Bernard is governed by the unchangeable law of human behavior, as are emotional and rational behaviors. The task of a novelist is not to judge everything, but to understand everything.

Zola refused to draw some kind of attachment between morality and art, demanding that works of art have no internal or external purpose. Beauty is not abstract, but human life itself. On this basis, Zola believes that art can be diversified and there is no absolute standard of beauty. Artists can set standards at will. Because works of art are just pure facts.

Fourth, the Gungur brothers.

French naturalist writer. I hate popular art, think that art is noble in essence, and condemn the vulgarization of beauty all my life.

Academics choose nature and correct it, so as to achieve a more perfect state than the existing one. The Gonggur brothers should also choose nature instead of modifying it to express nature, so as to prevent the painter from falling into the expression of "ugliness" and "the true nature".

Emphasizing observation and realism, the life of art lies in truth, which even refers to the ugly side of life.

Verb (abbreviation of verb) Gaudi monk Fleuri

The discussion of art leads to the concern of form and pure aesthetics. Art for art's sake, needless to say, form is for style, but it can be said that form is for beauty. Abstraction can be explained by various concepts, can serve various theories, and can directly produce benefits.

Gauthie believes that beauty comes from freedom and is not limited by anything. Art is the creation of beauty, so beauty can only be created under the condition of freedom and autonomy.

Leo Tolstoy

In On Art, he opposed the idea of art for art's sake and the popular aestheticism at that time. He hopes that the primary task of art is to convey morality.

He believes that art cannot be defined as exquisite technology. Four methods of producing fake artworks. The first is borrowing. Borrow the theme of previous works and make some modifications. Followed by imitation, that is, piling up the details of reality. Once again, it is moved, and the influence on external emotions is often purely physiological. Finally, it is fun. Painting performances and music are deliberately arranged like solve riddles on the lanterns.

Tolstoy regards the appeal of art as a sign to distinguish between true and false art. If a person experiences this emotion, is infected by the author's state of mind and feels that he is integrated with others, the work that evokes this state of mind is art..

Art is one of the necessary conditions of human life and a method of communication between people. The degree of artistic appeal depends on three conditions. How unique the emotion is, how clear the emotion is, and. The artist's sincerity. In other words, what is the artist's ability to experience the emotions he conveys?

Seven. Hegel

In Hegel's view, art is a dynamic composition process and a thinking process that endows art forms with important values. Art is not a simple imitation of reality, but a process in which consciousness itself is recognized and recognized in religious and philosophical thinking.

Definition: Beauty is the perceptual manifestation of ideas. According to different ideas and consciousness, Hegel divided art into three forms of expression. According to the three stages of artistic development, the image overwhelms the idea and the object overwhelms the subject. Such as ancient Egypt and India. Thought and image achieve free and perfect coordination. Like ancient Greece. Destroy the perfect unity of reality and ideas in classical art, and finally ideas overwhelm images. Such as romantic art represented by music subject art and spiritual art.

Eight, Fisher and his son and Lipps's Empathy Theory.

The aesthetics of epidemic situation theory was conceived and grew up in the soil of European romantic movement in the late18th century. Reflect the state of harmonious coexistence between man and nature.

Father and son. Beauty should only be reflected by lines and colors under the influence of empathy. Only empathy can make people experience and appreciate aesthetic pleasure, and the subject and object can be perfectly integrated. The objective aesthetic object becomes the second self.

Lipps.

Nine, pure visual theory, formalism aesthetics

Federer. Define formal theory from the perspective of philosophy and aesthetics.

Based on his research on the creative process of artists' visual forms. The formalism since Kant is integrated into the psychological analysis of visual form creation, and the objectification of form is in harmony with its internal spiritual goal. His understanding of the essence of art stems from his exploration of the process of artistic creation. He sharply opposed abstract, conceptual and conceptual artistic research, especially Hegel's aesthetic thought. He believes that art from sensory experience is not a human activity under the concept as people say, but an independent activity to understand and grasp the world. Through art form, we can also understand and explore the world, and this exploration process is also completed by the visual form creation process itself.

By observing the artist's practice, he found that artistic activities are a special expression of human thought. Only by understanding the art itself in the way of artistic imagination is the only way to grasp the essence of art. Artists have visual talent and they understand the whole world in a visual way. They are by no means imitators of nature, but have a keen artistic sensibility. The special ideological strength and rational analysis ability of the form creator have created a new relationship with nature. The content of art is not a simple thing, but the artist's feeling and grasp of these things.

Hildebrand, from the perspective of artistic creators.