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从19世纪末到20世纪50、60年代,西方现代绘画从传统架上绘画转向综合媒介绘画,架上绘画似乎已经死亡,艺术家对冷漠、呆板的具象绘画艺术感到迷茫。直至20世纪70年代,开始出现了“新表现主义”“新写实主义”“涂鸦艺术”“具象表现主义”等艺术形式。在新艺术运动背景下,艾里克·费舍尔以其独特的绘画表现方式为世人所知。他从美国中产阶级生活入手,在创作中以独特的视角反映他们生活中的隐私和禁忌。然而,艾里克·费舍尔使用的是具象的表现手法,画中人与人之间看似和谐,实则冷漠、虚伪,让观者产生疑问。艾里克·费舍尔的艺术为中国当代油画尤其是“新生代”油画创作提供了新的理念和手法,他提供了一定的借鉴意义。
From the late nineteenth century to the fifties and sixties of the twentieth century, Western modern paintings shifted from traditional rack-mounted paintings to integrated media paintings. The painting on the shelves appeared to have died and the artist was confused about indifference and dull figurative art. Until the 1970s, art forms such as “new expressionism”, “new realism”, “graffiti art” and “figurative expressionism” began to appear. In the context of Art Nouveau, Eric Fisher is known worldwide for his unique pictorial representations. Starting with the middle-class American life, he reflected the privacy and taboos of their lives with a unique perspective. However, Eric Fisher uses a figurative expression technique. The paintings appear to be harmonious among people, but in reality they are indifferent and hypocritical and give rise to questions for the audience. The art of Eric Fisher provided a new idea and method for contemporary Chinese oil painting, especially for the “new generation” oil painting. He provided some reference.