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“忠实衔接巴洛克至19世纪传统的画家——亦即全程写生——在当代欧美一流画家中绝无仅有。最后一位堂吉诃德式的大师,无疑是卢西安·弗洛伊德。”1他的绘画发掘了传统写实绘画未曾涉猎的领域:从人体绘画的观看方式、色彩挖掘、技术美学乃至可能从心理分析上突破了传统绘画,开启了他个人的绘画领域,为惯常的传统人体绘画注入某些现代性。然而,基于西方传统写实绘画的基本逻辑,即以“观看”为逻辑起点,弗洛伊德的绘画如不经由写生,以临场观看的工作方式,反复在画布上涂抹、寻找,最终达到他所追求的色彩、造型、肌理、空间所构成的画面强度,那么,他对传统绘画的突破乃至他的整个绘画世界是不能成立的。因此本文论述的弗洛伊德绘画的前提是写生。写生很艰难,然而写生是传统绘画的常态和工作伦理,所以在真正意义上要坚持传统不是那么容易的事情。西方的传统绘画是由直面对象的写生来支撑的,全程借助照片来坚持写实绘画传统在逻辑上是不能成立的。
“The artist who faithfully linked Baroque to the nineteenth-century tradition - that is, the entire sketchbook - is unique among today’s leading European and American painters. The last quixotic master was undoubtedly Lucian Freud.” “ 1 His paintings have uncovered the uncharted territory of traditional realistic painting: from the perspective of human body painting, color excavated, technical aesthetics and even possible breaking through traditional psychoanalysis and opening up his personal field of painting as the customary traditional human body Painting infuses some modernity. However, based on the basic logic of Western traditional realistic painting, that is, ”watching" as the logical starting point, Freud ’s painting repeatedly paints, looks for and eventually achieves the canvas on the spot without going through sketching His pursuit of color, shape, texture, the strength of the space formed by the picture, then, his breakthrough in the traditional painting and his whole painting world can not be established. Therefore, the premise of the Freudian painting discussed in this paper is sketching. It is hard to sketch. However, sketch painting is the normal and working ethic of traditional painting. Therefore, it is not so easy to stick to the tradition in the true sense. Western traditional painting is supported by face-to-face sketches. It is logically impossible to persist in the tradition of pictorial painting with photos.