论文部分内容阅读
当你聚精会神地欣赏《星夜》时,你会被文森特·凡·高奇特的梦幻图像和如童话世界般的色彩所吸引。是的,现实世界没有这样的月色、这样的星空、滚动的云端和扭曲的树木。这幅画是运动的,仿佛星月的光辉扫过画面,这个平静的村庄即将迎来黎明时分。作为后印象主义的代表画家,文森特·凡·高的绘画作品在色彩的运用上得益于印象主义画家对画面色彩的认知和理解,即“一瞬间”的色彩感受。印象主义绘画为什么会产生这样“主观”的,或者说“人为”的色彩感受,以至于在西方美术史的进程中终结了被称为“酱油色”的古典主义绘画的色彩体系呢?
As you concentrate on “Starry Night,” you are drawn to the fantastical images of Vincent Van Gogh and the colors of a fairy-tale world. Yes, there is no such moonlight in the real world, such a starry sky, rolling clouds and distorted trees. This picture is movement, as if the brilliant moon and stars sweep the picture, this calm village is about to usher in dawn. As a post-impressionist representative painter, Vincent van Gogh’s paintings benefit from the use of color by the impressionist painter’s perception and understanding of the color of the picture, that is, the feeling of “moment”. Why impressionist painting has such a “subjective” or “humanistic” perception of color that in the process of Western art history it ends the classical painting called “Soy Sauce” Color system?