论光线在西方绘画中的运用

《论光线在西方绘画中的运用》由会员上传分享，免费在线阅读，更多相关内容在行业资料-天天文库。

1、contrasttotheattentionoftheimpressionist，produce．FromRenaissanceJoetorre，reach·Vincitolightofthebaroqueperiodforreference，artcaravaggio，Joe，Rembrandtlightuseandsublimation，tothemonetlightcolorrevolutionimpressionistinfluenceonlatergenerations，inwesternpaintinglighttothemaximumperfo

2、rmance．Chapter3．Combinedwithlightandspace，lightandcolor,lightandtextureanalysisoftheinfluenceoflightpaintingandthecorrespondingpaintingsperformance．Fromtheperspectiveofspacemodelling，tolightcolorsciencetheorysystemofthecolorrelations，topursuetherealsimplesense，iswetowesternpainting

3、language”light”andrecognitionofartisticstyle．AncientGreek”imitatesaid”laidthefoundationoftherealisticpainting，thelighttopainting．TheRenaissanceofGreekartforreference，theuseofnewmaterialstechniques，thedevelopmentofscienceandtechnology，maketherealisticpaintinggraduallymatureandtwicep

4、lanereproducetherealisticpaintingstereoimage·space．Therealmeaningoflightcolordisplaysinwesternpaintinghistoryto19centuriestoreallydoit，impressionistpulledopenthisgreatfullyexpressedthelightcolorpreludetoexperience．Becausetheabsorptionoflightbyandreflexdifferent，appearinOureyespheno

5、menonalsodifferent．Inordertodescribeobjectsenseofreality，SOsimplesensehasbeenartistsexploreartofapaintinglanguage．Thefourthchapter．Impressionistintoxicatedinlightandcolorchangeandweakeningtheform，andnottoincreaseinthepicturesubjectivefactorsimpressionistlaterartistsuseofthiskindofs

6、ubjectivefactors，directlyledtothereconstructionoftheobjectivereality．Isvisualartforthe20thcenturyontology，photography,film，theemergenceofnewarttooriginalartproductionintheformoftheimpact，reflectedVIIinfluenceorsidea．Thenrunout第一章目录⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯Ⅳ⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯VI二．十五、=+^一·ILJ、四．第二章一+^一·

7、ILJ、印象派大师对光线的运用⋯⋯⋯．．第三章光线对其它绘画因素的影响⋯．．光与空间⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．二．光与色彩⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯三．光与质感⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．第四章莫兰迪绘画中光的运用⋯⋯⋯结论．．⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．参考文献⋯⋯⋯．．⋯⋯⋯⋯⋯⋯后起⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯堕速巫±期间塾堡笪科班盛墨⋯⋯⋯．．对物之外形的模仿，认为世界是真实的，模仿现实世界的艺术也是真实的，艺术只要是模仿，就必然体现真实性。为了追求描绘对象的真实性，光进入了绘画，逐渐成为艺术家积极探索的语言。写实描绘是人类追求真实的渴望，光线进入绘画是人类从写实因素到渴

8、望真实的必然结果。他的“模仿说”对欧洲绘画艺术产生了