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在現代的艺术实践中,創作和习作的相互关系,远不是一眼看来就很清楚的。单幅油画的这两种基本形式,一般說来还正确的定义是:习作——画家写生之作;創作——創造出来的作品。可是,有一些創作,簡直就是写生的作品,这里包括大批肖像画;而有一些习作,就其內容的深刻程度和对待素材的创造性处理来看,不亚于創作。也有这样一些艺术作品,对于它們,很难說是习作还是創作。像塞罗夫的“十月”和“芬兰”,阿尔希波夫的北方风景,岡查洛夫斯基的几幅“丁香”,C·格拉西莫夫的希腊风景和意大利风景等等,应該呌做创作呢?还是习作? 如果它們两者的混淆,并沒有在繪画的看法和
In modern artistic practice, the interrelationship between writing and writing is far from obvious at a glance. The two basic forms of a single painting, in general, are also correctly defined as: Excercises - painters’ sketches; creations - works created. However, there are some creations which are literally sketches of works, including a large number of portraits. Some of these exercises are as much about creativity as they are about the depth of content and the creative handling of the material. There are also some works of art, for them, hard to say is writing or writing. Such as Serov’s “October” and “Finland”, the northern landscape of Achishbov, the several “cloves” of Gonchalovsky, the Greek landscape of C Gracimov and the Italian landscape, etc., Should I do creative work or work? If they are both confused, and not in the view of painting and