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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4851


    Title: 地方意象:尤特里羅繪畫研究;The Image of a Place: A Study of Maurice Utrillo's Painting
    Authors: 李卉婷;Hui-ting Lee
    Contributors: 藝術學研究所
    Keywords: 尤特里羅;地方;意象;蒙馬特;Montmartre;place;Maurice Utrillo;image
    Date: 2007-07-06
    Issue Date: 2009-09-22 09:34:10 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 莫西斯?尤特里羅﹙Maurice Utrillo, 1883~1955﹚是二十世紀西方藝術史上一個特殊的現象。在長達半個世紀的創作生涯中,他畢生只作風景畫,而且在多達三千七百幅的大量畫作當中,以巴黎蒙馬特﹙Montmartre﹚一地的風景作為主要題材,並且因曾長期作為該地的居民,致使尤特里羅的名字與蒙馬特緊密地結合在一起。同時,畫家自外於二十世紀初風起雲湧不斷創新的藝術潮流,幾乎不受影響地自行發展遞變。他的畫作並不具有複雜的智識思考,始終單純地旨在具體呈現景物,向觀者報導地方的實際樣貌。 「地方」﹙place﹚,不同於客觀中性的空間,其蘊含人們對於某個空間的使用、經驗以及所生發的意義與情感。而「意象」﹙image﹚,則是人們心目中關於某地的形象或者印象,藉由回憶、照片、文字敘述或者繪畫而被製造出來,而人們往往也透過這個意象來認識某個地方。就尤特里羅而言,巴黎,特別是蒙馬特這個地區,是他生活的地方,情感依附的所在。尤特里羅同時作為風景畫家,以視覺圖像的方式製造地方的形象,同時也在創作當中分享或者援用人們對於巴黎與蒙馬特的集體意象。正是因為尤特里羅與作為地方的蒙馬特關係十分緊密,是以「地方意象」能總括尤特里羅蒙馬特風景畫的創作特色。 風景本身並非中性客觀的空間,其中蘊含著人文歷史的意象。風景的觀看,除了畫家主觀的選擇,也可能是社會文化篩選的結果。風景畫的創作,總是有機地涵納既有的圖畫傳統與參考資源。風景畫不僅作為繪畫形式的表現憑藉,也仍然具有呈現某地實際樣貌的基本功能。而固定觀點之風景圖像的重覆,將會加強該地特定的形象。 本篇論文,係從畫家的基本研究出發,釐清尤特里羅的生平,藉由以蒙馬特題材為主的畫作,探討尤特里羅的創作方式與繪畫風格的演變。並從風景主題出發,兼論蒙馬特地方意象的形成。 Maurice Utrillo (1883-1955) is a special case among twentieth century artists. He departed from the art revolutions of the early years of the twentieth century and developed his art alone. His art did not involve complicated intellectual theory, and always aimed to represent the actual appearance of real places. In his fifty years of painting, Utrillo stock to landscape painting and focused exclusively on Montmartre in Paris, his long-time home. As a result, Utrillo’s name is closely connected with the place. “Place” is not an objective and neutral space. People use and experience a space and at the same time get meaning and emotion generated from it. “An image” of a place is made of a memory, a photograph, a verbal description or a painting. People know a place through the image of the place in their mind. To Utrillo, Paris, especially Montmartre, was the place he lived and loved. Utrillo was an artist of landscape painting. He defined the image of the place with paintings, shared and used the collective image of Paris and of Montmartre. Because Utrillo was so close to Montmartre as a place, the making of the “image of place” can be seen as the character of Montmartre landscape paintings of Utrillo. “Landscape” is not an objective and neutral space. It contains cultural and historical images of a site. The view of a landscape is the subjective choice of the painter, which is influenced by society and culture. The creation of a landscape painting is always involved with an existing pictorial tradition and cultural sources. Landscape painting is not only a means of the expression in painting, but also has the basic function of showing the appearance of an actual place. The repetition of a landscape image with the same viewpoint reinforces specific images of a place. The main topic of this thesis is an in-depth look at the painter Utrillo, which sheds light on the life of the painter firstly and then studies the method of painting and the evolution of his style. Through the paintings of Montmartre, this thesis will discuss the making of the image of Montmartre.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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