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本文以刘开渠的大型浮雕作品《农工之家》为例,分析刘开渠在20世纪40年代中期由的艺术观转变;以梳理作者创作《农工之家》时的经济情况、生活状况及交游圈子,试图还原作品的现实创作环境,并在此基础上溯源刘开渠在北平艺专、留学法国及回国时期的艺术观念转变,梳理了其由“艺术至上”到“艺术反映现实生活”的艺术观转变,及由此带来的塑造手法的改变,同时点明这种转变是中国近代美术由抗战前期“国防美术”到抗战后期现实主义美术创作模式过渡的一部分。
This article takes Liu Kaiqu’s large-scale relief work “Agriculture House” as an example to analyze the changing of Liu Kaiqu’s art concept in the mid-1940s. In order to sort out the economic situation, living conditions and social circle of the author when he wrote the book, And restores the realistic creation environment of the works. On this basis, it traced the artistic transformation of Liu Kaiqu in Beiping Art Academy, studying in France and returning to China and combing his art from “art first” to “art reflects real life” The transformation of the concept and the change of the shaping method brought by it, and at the same time points out that this transformation is a part of the transition of modern Chinese art from the “national defense art” of the early Anti-Japanese War to the realistic artistic creation mode of the post-war period.