| 肖像画除是对人物抽象的记载，也承载了分歧时代的审美和文明。历久以来女性成了“美”的最好诠释对象，服装也是人物抽象表达中异常主要的元素之一。本文以法国19世纪女性肖像画中经由过程服装的描写所表示的时髦和兴趣为切入点，有针对性的挑选搜集多位画家绘画中的女性抽象和服装材料，联合其时的时髦文明和社会审美和画家对女性的不雅察、本身的审美兴趣、技法表示等来商量这些身分对画家艺术主意和画面的艺术性的作用，剖析他们的著作的分歧的地方，同时也看到他们之间的传承和立异，以此加深对他们著作的熟悉，和我们在艺术创作中获得的一些反思和启发。本文第一部门对两年夜作风悬殊的绘画派别的时期配景、艺术特点和重要画家停止引见，法语论文范文，并引出他们之间的交集——女性肖像和时髦兴趣。第二部门以安格尔的女性肖像主要著作为例，剖析古典主义的古典时髦在上半叶的表示。第三部门，联合印象派绘画中的女性抽象，法语论文，梳理印象派画家对古代时髦的表示措施，并与其时的主题相似的古典写实著作停止一些比较。最初一部门剖析安格尔肖像画中古典时髦的内因和印象派画家在对女性抽象的描写中对古典传统的传承和立异及其成因，并提醒他们时髦兴趣的差异，引出他们带来的作用与启发。 Abstract: In addition to the portrait of the characters in the abstract records, but also bearing the different times of the aesthetic and cultural. Long-standing women become "beautiful" the best interpretation of the object, and one of the very important elements of clothing is also the character of abstract expression. The French 19th century female portraits by the garment description represented the fashionable and interest as the starting point, with regard to the selection of gathering many artists painting in the female image and clothing materials, combined with the modern civilization and social aesthetic and painter of women not Yacha, aesthetic interest, skill representation to discuss these factors on the painter's artistic ideas and images of art of, the analysis of the differences of their works, and see them between inheritance and innovation, so as to enhance their work familiar, and we get in the artistic creation some reflection and inspiration. The first section of this article is to introduce the background, artistic features and important painters in the period of two years and a great disparity in the style of painting, and lead them to the intersection between them. In the second part, taking the female portrait of Angell as an example, the analysis of the classical style of the classical style in the upper half of the. The third section, combined with the female abstract in the painting of the painting, combs the method of the modern representation of the modern art, and stops some comparisons with the classical realistic works which are similar to the subject. First department analysis of Ingres portraits classical fashionable internal and Impressionist painters in the description of female image of the classical tradition inheritance and innovation and its causes, and remind the similarities and differences of their fashion interest, leads to bring their influence and inspiration. 目录: 摘要 4-5 Abstract 5 引论 6-7 一 时尚与趣味 7-10 1.1 时代的叛逆者 7-8 1.1.1 新古典主义的继承教——安格尔 7-8 1.1.2 逆流而上的印象派 8 1.2 共同话题——时尚 8-10 二 古典主义中的女性肖像与古典时尚——以安格尔为例 10-13 2.1 贵族肖像画中的适度时尚 10-12 2.1.1 尝试——古典的时尚 10-11 2.1.2 驾轻就熟——时尚的古典 11-12 2.2 偏执的完美主义者 12-13 三 印象派绘画中的现代时尚 13-19 3.1 现代时尚的诞生 13-14 3.2 人物画中的时尚 14-19 3.2.1 时尚的女子 14-15 3.2.2 现代生活 15-18 3.2.4 时尚巴黎 18-19 四 借鉴与开创 19-22 4.1 时尚之差异 19-20 4.2 作用与启示 20-22 结语 22-23 参考文献 23-24 致谢 24 |
