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作 者:吴禾[1]
出 处:《泰山学院学报》2008年第4期13-16,共4页Journal of Taishan University
摘 要:女性自画像是女画家自我形象的刻画和展现,各自不同的艺术表现形式可以传达出既丰富独特又分散隐匿的符号信息。古典主义风格的女性自画像的突出特点是"重形轻色",精美的构图和逼真的造型反映出强烈情感的符号信息;印象主义女画家开始"重色轻形",绚丽的色彩和奔放的笔触展现出率真、丰富的审美情感;现代主义女画家逐步从对共性化的理想美范式的执着,发展为以女画家的个性之"眼"对自我形象的关注与表现,从再现视觉的形象真实转为对内在精神幻象的表达。这也正是西方绘画艺术的创作观念与技术手法从古典形态走向现代形态的嬗变线索。Female self - portrait is the show and characterization of self - images of female painters, whose various art forms convey unique, rich, occult and scattered symbolic information. The outstanding feature of the classical female self- portrait is "focus on shaping rather than coloration" whose exquisite composition and lifelike modeling reflects symbolic information of strong feelings ; Female Impressionistic painters began to "focus on coloration rather than shaping" , the brilliant colors and unrestrained strokes of which show forthright, sincere and rich aesthetic emotion; Female Modernistic painters develop, gradually from the perseverance of common ideals and paradigm, the concerns and performance of self - image by the" eye" of the personality of female artists, from the reality of image of visual reproduction to the expression of the inner spiritual illusion. And all above is the clue of evolution, through the classical way to the modern form, of the creative ideas and techniques of Western paintings.
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