A study of the applications of light and color in the paintings of the Impressionism. -Using Claude Monet's drawings as examples

• Main Authors: Min-chu Wang, 王明珠
• Other Authors: Sheu Kuen-Cherng
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/65025188677983455009

碩士 === 中國文化大學 === 藝術研究所美術組 === 98 === Since the mid 19th century, arts in France had expanded with far-reaching effects that covered literature, poetry, philosophy, sculpture, architecture, music, etc. Impressionism, especially, had reached new heights in developing creative ideas and painting modes, and thus became a significant point in the history of painting. Compared to the formerly popular Romanticism and Realism, Impressionism’s artistic language and aesthetic approach in observing nature is entirely different, and thus can be interpreted into new painting perspectives. By abandoning the traditional subjects like religion and Greek Mythology, and encouraging artists to go outdoors and experience nature first-hand, Impressionism spurred on the rise of the humanistic style and alleviated the burden of history and tradition. Impressionism arts are imbued with contemporary lifestyle and vitality with colorful painting techniques. French poetry Paul Valery (1871-1945) once said that “painting possesses an unspecific nature, and if it consists only of landscape illusions or quasi-musical colors and lines, it would then fail to gain recognition and appreciation from observers”. Painting might appear effortless, but in reality, the process of painting is arduous and complex. A great painting displays artistic values that include scientific perspectives, basic painting skills and states of consciousness. This thesis focuses on the analysis of landscape works by the 19th century master, exploring impressionism’s aesthetic techniques, theories, and forms, as well as oriental elements that permeate in the paintings. By merging the painting techniques and aesthetic philosophy patiently taught by my professors, as well as employing the bold techniques, artistic expressions, and forever-changing intuitions in colors of Claude Monet’s landscape paintings, within the time span of two years, the author vows to create works that would fully immerse into the great beauty of nature. The thesis is divided into seven chapters: Chapter 1 –Introduction: clarifying the motivation and purpose of the thesis, its scope of research, methodologies and procedures. Chapter 2 – Analysis of Historical Societal Background of Impressionism: analyzing the transition of 19th century’s historical background, impressionistic style, and societal atmosphere. Chapter 3 – The Fundamental Artistic Theory of the French Painter, Monet: exploring Monet’s artistic experiences, techniques, and expressions in brushwork and light. Chapter 4 – The Analysis and Examination of Monet’s Works: the image processing of light and shade, the visual perspectives with direct contact with nature, and the usage of spectral and infinite colors in his paintings. Chapter 5 – The Self-Creative Theoretical Basis: how to create individual styles and characteristics in impressionism expressions by adding ‘natural elements’ and having a thorough knowledge of art philosophy. Chapter 6 – The Form of Expression and Artistic Appreciation: analyzing mainly the author’s creative inspiration and the relation between the creative process and conception, as well as the exploration of external form and internal consciousness. Chapter 7 – Conclusion: the author concludes by reflecting on the prospect of future artistic creations.