I. Title of the document
On the Expressiveness of Lines in Oil Painting Language —— The Expression and Research of Lines in Matisse's Works
Second, the research significance
Line is the original form of visual art and the basic way for people to observe and describe nature. Lines in painting art play an important role in depicting the outline of an object and sketching its skeleton. Lines have evolved into colorful forms of expression in the process of eastern and western painting, and the expression language of painting has become vivid and substantial. Different painters have enriched the painting language with different styles of lines. The study of lines provides a valuable way to deeply study the evolution of artists' creative personality and artistic style.
Fauvism represented by Matisse in the early 20th century is of great significance. Although not a real group, Matisse is unique in this era of liberating colors and exploring innovative forms. His sketches and paintings do not simply depict nature, but show the spiritual world abstractly with lines. He created a new way of spatial perception with lines, which had a far-reaching impact on the innovation of oil painting techniques.
Studying the French modernist painter Henry today? There are more and more people in Matisse, and it is not easy to innovate. As for the case study, due to the limitation of space, personal ability and materials, the author can only grasp the most important line language in Matisse's paintings and take his "free spiritual home" as the starting point. Now, in our specific creative practice, how to make the line form and emotional spirit coexist; How to improve the expressive force of line language; How to embody the spirit of the times? Matisse's paintings provide the most valuable reference and inspiration, which has important practical guiding significance. Therefore, the research on the topic "Interpreting the formal language in Matisse's paintings" will help us to know more clearly the diversity of artistic creation and expression techniques in the 2/kloc-0 century. It can be seen that under the premise of not forgetting its own characteristics, it is of great benefit to China oil painting art to selectively absorb the essence of foreign culture and art with the spirit and courage of "bringing it".
Third, the research status at home and abroad
The emergence of Matisse and Fauvism marks a new stage in the development of western art, a stage of "formal revolution". The main sign of this stage is to emphasize form and raise it to an independent position. These schools that attach importance to form are usually called "formalism schools". The so-called "formalism" here doesn't mean that we don't want content, just as the naturalism in literature and art in the middle of19th century didn't completely exclude artistic generalization. Formalism pays attention to form, ignoring the role of theme, plot and story in painting. The "content" understood by the formalism school is an abstract feeling and emotion conveyed by the form, and it is a subtle feeling embodied in the formal elements. Therefore, these works are often not understood by the public for a while, because the aesthetic taste and ability of the public are far less delicate and keen than those of artists who have special research on form. However, it is this trend of thought and the works of these artists that constantly expand the "acceptance" of people's appreciation ability and constantly improve and innovate people's aesthetic taste.
The creative achievements of Matisse and Fauvism painters are actually a summary of French art exploration after Impressionism, which indicates that the school of thought guided by materialist reflection theory in French and even European art has given way to a new trend of thought guided by subjectivism, emphasizing the author's subjective concept and consciousness. Of course, after that, the development of French and European art did not completely follow the direction initiated by Matisse. In addition to Matisse's freehand brushwork style, there is also a rational and rigorous geometric style. They mutually repel and promote each other, making art more and more abstract. In this compromise, idealism philosophy and aesthetics played an important role. In particular, the aesthetic concepts of Bergson and Croce directly influenced Matisse and Fauvism.
Bergson said in the article "Laughter" published on 1900: "Some people love colors and shapes, and at the same time, because he loves colors and shapes for them, and because he loves colors and shapes instead of seeing them himself, he sees the inner life of things through their colors and shapes. Then he gradually brought the inner life of things into our original chaotic vision. At least for a moment, he liberated us from the prejudice about color and form between our eyes and reality. In this way, he achieved the highest goal of art, that is, to show us nature. " Bergson also pointed out that other people do not pay attention to the color and shape of objects, but look for them themselves, "like to explore in their own hearts." Under thousands of budding actions that expose an emotion, behind the words that express personal psychological state and endow it with ordinary sociality, they explore the pure and simple emotion, the pure and simple spirit and state. "
In temperament, Matisse grasps the "inner life" of things with color and shape, and is also an artist who ignores shape and color and pursues a pure and pure mental state in his heart. In other words, he is good at combining the two. The "balance, purity and clarity" advocated by him is the highest goal and realm. When the expression of form and color hinders this goal and affects this realm, he can abandon form and color, just as he did in sketches and prints with tick marks as the main body. Matisse advocates the "balance, purity and clarity" of art, which is consistent with Bergson's request. The philosopher believes that painting, sculpture, poetry and music "should get rid of practical and utilitarian symbols and general concepts established by social customs." In short, we should get rid of everything that covers up the reality and make us face the reality itself. " The so-called "facing reality" here refers to the primitive and inner life of reality. ) Croce believes in Aesthetics written by 190 1 that image cognition is independent without the help of reason, concept and logic. He said: "Image perception is an inseparable mixture of the feeling of real things and the imagination of possible things."
In Croce's view, pure image includes two aspects: feeling and illusion obtained from reality, which are inseparable from each other. How was this image created? Croce emphasized children's psychological and irrational "primitive psychological state". This is actually an avoidance of real life. This is the same as Matisse's ideological system of avoiding social contradictions and turmoil and rejecting "troublesome and frustrating subjects". This is the tendency of "pulling away" elaborated by Warringer in his aesthetic works, and it is a negative reflection of writers and artists to society. At the end of last century and the beginning of this century, the western capitalist society faced many crises, which cast a shadow on the minds of intellectuals. They attach importance to material and machinery, despise spirit, suppress human nature, and make people lose their lofty belief in society. Literary and art workers can't get inspiration and stimulation from reality to sing and praise life, so they focus on exploring how forms express their feelings. Aesthetic, symbolic and abstract art came into being. These artistic phenomena with negative ideological tendencies also contain positive aspects: enabling artists to explore the characteristics and laws of art more deeply, get rid of various social and psychological pressures, freely express their feelings, and grasp and exert their creative personality. In its exquisite form, these arts "strike a chord that we have been waiting for" (Bergson language). Wilde once said in the book Intention: "Aesthetics is a deeper spiritual world than reason. Only from aesthetics can we reach the subtle realm of color sense, which is far more significant in personality development than? The idea of good and evil? More important. " This discussion also helps us to understand the characteristics of Matisse's art. However, among artists with aesthetic tendencies, Matisse's art is healthy and clear, it is not decadent and mysterious, and it is implicit and not obscure. Therefore, while pointing out the overall characteristics of Matisse's art at that time, we should fully affirm the immortal position of this master in world art. We don't have to blame the artist for not showing a major theme, because the most important thing in artistic creation is not the theme, but the artist's enthusiasm and sincerity, and the lofty and pure human feelings reflected by this enthusiasm and sincerity. It is at this point that Matisse's art can stand the test, and we should not and cannot require all works of art to have the same social function and effect. Every art has its own characteristics, and every artist has a distinctive temperament and demeanor. Matisse attached importance to man's natural life and instinctive life, and attached importance to individual's creative value, which was a powerful impetus to western art in the twentieth century and also beneficial to us today.
Fourth, research methods and contents.
Research methods: (1) observation method; (2) literature method; (3) Experience summary method.
Research content: Matisse believes that observation is a creative activity and needs an effect. Lines are very important in modern art. Lines can stand out, express, control and integrate the whole picture. Matisse emphasized the lines that express the essence of things-"If I want to draw a woman's body, I must first give her elegant and charming charm, but I understand that I must give her more things. I will condense its meaning by following the basic clues. At first glance, the charm will be less prominent, but it will eventually stand out from a new image with wider meaning and more humanity. Because charm will not be the only feature of painting, it will be less conspicuous, but because its life is included in the overall concept of the image, it will exist as before. " Charm is an instantaneous feature of female body, which is included in more essential life. It is preserved by "pursuing essential lines", and finally the charm is incorporated into the overall image of the work to obtain its eternity. Therefore, we should let the line, a painting language element, play its role.
Five, the thesis writing plan:
Collect and digest the data from February 65438 to June 10 in xx.
The first draft of the paper was completed from xx, 2000 to 065438+ 10 to 65438+April.
From April of xx to May of 10, the paper was revised and finalized.
Six, the thesis writing outline
(A) line generation and emotional expression
(B) the role of lines in the development of oil painting
1, the definition of line
2. Scale of line
3. Rhythm of lines
4. Emotional communication
(C) Matisse's "basic line"
1, curve
2. Lines and curves
3. The abstract conclusion of line
refer to
Express gratitude/gratitude
Seven, the main references:
1, On the Function of Line Language in Oil Painting Modeling by Hu Xijiang, Journal of Northwest University for Nationalities No.4, 1996.
2. Gao Yanfei, Aesthetic Implication of Painting Lines, On Art, 12, 2008.
3. Dong Xiaoli, a player of colors and lines-henri matisse's painting world, China Art, April 2004.
4. The overseas Chinese's new work "Expression Techniques of Matisse's Works of Art", Journal of xuchang university, 6 issues in 2005.
5. Sun Xia, On "Line" in Western Painting, Master's Thesis of Nanjing Art Institute, May 2004.
6. Li Dongdong and Yang Lin: Revolution in Matisse's Painting, Journal of Xinxiang Education College, No.4, 2007.
7. Deng Taiping, "On Matisse's Painting Art", "Grand View of Art", September 2008.
8. Yan Min, on Matisse's oil painting artistic creation experience, Journal of Suzhou Silk Vocational and Technical College,199965438+February.
9. Ba and Ba Pengfei: Line-the Basic Language of Visual Form, Anhui Literature, No.2, 2009.
10, Jacques Debic, Jean-Fran? ois Fafeur, Terry? Gruna Wald and Antonio Philippe Pie Mandel: History of Western Art, translated by Xu Qingping, Hainan Publishing House, 200 1.
1 1, Herbert? Reed: A Brief History of Modern Painting, Liu Pingjun Ze, Shanghai People's Fine Arts Publishing House, 1979.
12, [France] Engels' On Art, translated by Zhu, West Normal University Press, 2004.
13, [Germany] Kant: Critique of Judgment, Ze, Yang Zutao School, People's Publishing House, 2002.
14, [France] Baudelaire: I see Delacroix, Mao Yanyan and Xie Qiangze, Shandong Pictorial Publishing House, 2005.
15, edited by Fred Orton and Charles Harrison: Modernism, Criticism and Realism, translated by Cui Cheng, Mi and Yao Bingchang, Shanghai People's Fine Arts Publishing House, 199 1 version.