【摘要】：現(xiàn)在活躍在當(dāng)代中國油畫舞臺(tái)上的女性畫家大多是出生在60年代左右，九十年代后又選擇了創(chuàng)作以家庭生活為題材的作品她們悠然的用女性的視角解讀者社會(huì)家庭個(gè)人之間的關(guān)系那么為什么這么多女畫家都選擇了這樣的題材呢，也許各自有各自的原因，其中有記錄社會(huì)變革體現(xiàn)社會(huì)性的，，也有單純自傳性質(zhì)的85新潮還是對(duì)90年代成長起來而在海內(nèi)外聲名蜚起的這批女畫家有著影響的，對(duì)于她們?cè)谖磥淼乃囆g(shù)創(chuàng)作上提供了新的視野從85新潮開始寫起，旨在指出開放外部的環(huán)境對(duì)于當(dāng)年的局限思維是一次藝術(shù)上的解放思想，是一次新舊碰撞產(chǎn)生的火花，不破不立，破而后立而在面對(duì)新鮮事物的同時(shí)也應(yīng)該辯證的看待西方傳來的所有思潮，有積極的，也有糟粕可以適當(dāng)吸收，但仍固守自己的本源，因?yàn)樽罡镜臇|西才是最珍貴的，而不是隨波逐流失去自我女性繪畫在不斷的找尋自我的過程中建立了出于自己的領(lǐng)域那就是以個(gè)人家庭為視角的記錄了個(gè)體變化社會(huì)變遷的女性繪畫因?yàn)榕援嫾覀儗?duì)于我有了更深刻的認(rèn)識(shí)，并在繪畫中將之表現(xiàn)出來本文主要以喻紅的ǎ目擊成長為例，記錄以喻紅為主角的這樣一代人的成長，也見證了整個(gè)社會(huì)的變遷而ǎ她系列則是將目光聚焦在了形形色色的廣大女性角色身上，從自我的審視到對(duì)她的觀察記錄，表達(dá)了每一個(gè)個(gè)體都值得關(guān)注與喻紅同一時(shí)期的這些女畫家們她們是當(dāng)代畫壇上的中流砥柱，并對(duì)她們以個(gè)人和家庭為題材的主要作品做了一個(gè)簡單的分析而我們?cè)诋嬜魇亲鳛榕畠航巧砷L起來的新一代受到母親這代人的影響頗深，也開始了自己的藝術(shù)之路的探索雖然有爭(zhēng)議，有迷茫，但是我們也在不斷地成長
[Abstract]:Most of the female painters active on the contemporary Chinese oil painting stage were born in the 1960s. After the 1990s, they chose to create works based on family life, and they used a female perspective to understand the relationship between family and individuals in the reader's society. So why did so many female painters choose such subjects? Perhaps each of them has its own reasons. Among them, there are those who record social changes and reflect the social nature, as well as 85 new trends of a purely autobiographical nature, which still have an impact on these female painters who grew up in the 1990s and gained fame at home and abroad. It provides a new vision for their future artistic creation. It begins with the 85 new trends, in order to point out that an open external environment is an artistic emancipation of the mind and a spark generated by a collision between the old and the new for the limited thinking in those days. Never break, break and stand, but in the face of new things, we should also dialectically look at all the trends of thought coming from the West. There are positive ones and there are dross that can be properly absorbed, but they still cling to their origin. Because the most fundamental thing is the most precious, And instead of losing it, women's painting, in the process of constantly finding itself, has built up its own territory, which is, from the perspective of the individual family, women's paintings that record individual changes, social changes, because women's paintings. The family has a deeper understanding of me, And show it in the painting, this article mainly takes Yu Hong's eyewitness growth as an example, records the growth of such a generation with Yu Hong as the protagonist. She also witnessed the changes of society as a whole, and her series focused on a wide variety of female characters, from self-examination to the record of her observation. Expressed that each individual is worthy of attention with Yu Hong at the same time these female painters are the mainstay of the contemporary painting world, And we did a simple analysis of their major personal and family work, and the new generation that we grew up as daughters in the paintings was deeply influenced by the mother generation. Also began their own exploration of the art road, although there is controversy, there is confusion, but we are also growing up
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J209.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 陶詠白;走向自覺的女性繪畫[J];美術(shù)觀察;1997年03期

本文編號(hào)：2137873