George morandi's aesthetic structure

下面为大家整理一篇优秀的paper代写范文- George morandi's aesthetic structure，供大家参考学习，这篇论文讨论了乔治·莫兰迪的审美结构。乔治·莫兰迪是意大利非常著名的版画家、油画家，他既推崇早期文艺复兴大师的作品，也对此后各种流派的大胆探索有着强烈共鸣。乔治·莫兰迪的作品有独特的审美结构，从他的作品可以看到的是对细节的缺失感和色彩的“乏味”变化，但作品结构与排列态势却非常的具有质量感，并且动态突出。另外层次感异常的清晰，并且给人一种光线的流动质感。

Western painting refers to the painting style, ideology and aesthetic habit of Sian, which originated from the French region. The traditional core of Western painting has always been to depict the reality as the principle, so-called principle refers to "the essence of Things, the original rules of things", its characteristics are unique. In the western context, the word "principle" is unique.

Western painting, with Duchamp as the watershed, almost ended the painting tradition. Because, from his starting device, the material "tore" the canvas, the painting changed from the abstract plane to "the elephant" three-dimensional. Painting has actually "ended". The vigorous Western modern art has successfully become the mainstream, occupied the human vision. But a painter of his contemporaries chose a way to path, and, alone, "inherited" Western painting, the Italian George Morandi.

George Molandi with still life and landscape painting as a lifetime of creative themes, the creation of 1264 paintings, excluding sketches, watercolor and printmaking. So, to make such a choice, Morandi himself made a clear statement: "The kind of feeling and image aroused by the visible world, that is, the world of form, is very difficult, even can not be described by definition and vocabulary." In fact, it is completely different from what you feel in everyday life, because the world of vision is determined by form, color, space and light ... I believe that nothing is more abstract and unreal than what we see in the world. ”

If we attempt to make an objective aesthetic judgment and evaluation of a painter's painting, the first is to get his own exposition of the core of his artistic creation, and then to make a complete and critical judgment of his works. Therefore, this article takes two parts to explain the George Molandi in the aesthetic structure. The first part is the understanding and construction of painting in its spirit, the second part is the actual aesthetic structure displayed in his works.

From the above, I can see several core words: visible, form, feeling, image. From this, it can be judged that, from Morandi himself, first of all, he is the most instinctive vision to see the painting, and secondly, he still inherited the Western painting tradition emphasized in the form and form of the aesthetic feeling of the main, and ultimately these through the painting means condensed into the image on the canvas as the result. Then, he is "art to the art itself to complete its own interpretation and presentation" of this ancient Greek philosophy, the esthetic tradition carries on the thorough return, and the natural science idea which attempts to use the language, the symbol as "The Universal Description tool" "The beginning of the 20th century", has attributed the thorough negation.

The key point of painting problem is a difficult problem in the Morandi aesthetic structure, the core of which is: the visible world and the abstract relationship. It's a cliché, but it's a problem that is deliberately overlooked. The problem has two layers: first, imitation is always human instinct, and imitation is usually used in the sense of habitual "assimilation"; second, image technology, especially the birth of photography at the beginning of the 19th century, brings a sense of freshness and realism that make people accustomed to no longer consider the image of the film is actually the object of the "abstract "It is not the" image reduction "of the photographed object, even the modern 3D technology is not an image copy of the actual objects, but rather an abstract reduction.

Next, Morandi clear that the artistic creation and daily life from the feeling level is already a completely different two kinds of things. The vision of the calendar life is form, color, space and light.

George Molandi's thinking and understanding of the painting in terms of meaning there are five basic foothold: Solidification: The creator himself observed that the "existence" through the tools and materials in some form of "solidification"; deformation: Because of the need to "imitate" the description of "existence", Therefore, from the actual existence of four-dimensional space into three-dimension volume of the existence of the changes in light of the change in the changing, through a variety of limited color, media, materials "copy", and this replication is "deformation", the "existence" deformation of the point, line, surface, color block. Perception: The portraying person's own perceptual system is completely private and closed, the perception of color, the perception of material, the perception of temperature, the perception of taste, the perception of light, the perception of space, the perception and grasping of emotion, are not only the completely private perception of the painter, but also the impossible to convey, Even through the final shaping of the work can not be conveyed, even for the portrayal of himself and his own creation of the works and their own perception is also different. It is also because of the various physical and emotional reasons that the perception of the person is constantly changing. Comprehension: The understanding of the objects depicted is probably the main reason for the final transmission of aesthetic perception. This point is particularly prominent in the basic training of Western painting, while the understanding of the direct and aesthetic taste has a mutual reflection of the relationship. In short: Humans cannot describe what they cannot understand. Objective: All human behavior is purposeful, which is created by human survival instinct. As the most advanced creative behavior of human being, the purpose of ―― art creation is more clear, but it is more difficult to describe. This is the dilemma of artistic creation, from the psychological point of view, human instinct, the essence of the "impulse" can not be explained by the language. For example, it is the case that people cannot define the things that exist in the "Love" and "energy".

First of all, from the first level is the human nature of the level. Imitation is the essence of painting, from which a painting ―― the earliest art form of mankind. At first, it is a static imitation of the world of material existence, which is the most widely needed to be followed by the ecological imitation of human beings and animals, and finally the imitation of the existence of the spiritual world;

Imitation behavior is the only learning behavior of mankind, and learning behavior is the decisive behavior of human beings. The ancient Greek philosopher Democritus's treatise is: "In many important things, we imitate the beast, do the animal's pupil ..."

Socrates, however, takes this argument one step further: he believes that it is not only to imitate the shape of things, but also to depict the characteristics or spirit of things. 　　This assertion has become the basis of the Western tradition of artistic origin. But here comes the question of Morandi: is imitation something the object of itself?

The most sacred and inviolable thing about every creator is that his works are unique creations, not imitation of some kind of existence. There is a dilemma of imitation of the object depicted here. Works are the only thing that can be imitated, and the work is the imitation of objects. This is a matter of meaning and value. The center of the paper is the former: solidification and deformation. It is the perception and understanding that makes the work different, is its purpose to make the work and the existence very dissimilar! As the dilemma and bravery of Morandi, I think it is unavoidable in the frame of creation. On this point in some contemporary cultural circles there is not the dilemma of the arts: for the creation of things, people generally think that it is meaningless, but to a certain existence of imitation, even better to pull the camera shutter convenience. Art seems to have gone out of the soul and become a Slave of matter and a cheap product that can be arbitrarily demanded. The Morandi-style aesthetic and metaphysical thinking of art has become a dead soul. This is also the result of poor imitation and industrialization imitation model production, compared to Morandi serious. Andy-Wo Hall is cynical but "down-to-earth": "In this time, everyone has five minutes to become a star." And its experimental work confirms its words. But it is not necessary to argue that true art can be cheap and popular.

Is imitation the thing that is imitated itself? Morandi with a lifetime to complete the impossible to end the cross-examine.

Morandi asked the question with a lifetime and more than 1000 still lifes and landscapes. We use the most common "eyes" to see these works, of course, we can clearly distinguish what all the objects depicted, can feel how simple structure and arrangement. Even feel a kind of jerky and less harmonious. However, the most important thing is that these works have a feeling of not being able to pull out of sight. This subjective feeling and its strong and unreasonable. Seemed to be "too" plain and rough. Completely contrary to the visual habits of "artwork" that we are accustomed to, it seems to be unfinished work, and it seems to be a parody. The lack of detail, the soft "lost", the precision of extraction, and even everywhere is a symbolic stroke or gimmick. What does he want to say? Is the perception of the understanding, his purpose is to solidify the state of perception and the understanding of the solidification of information, and this solidification in the eyes of our audience is "Morandi-style" deformation.

The real existence has a characteristic: the down after sweeping. From the psychological point of view, the emergence of human aesthetic phenomenon comes from a certain degree of unknown, if the perception level of the full knowledge, then the aesthetic phenomenon is very difficult to produce. Morandi as a system of painting training, and in the Art Institute of the creators, of course, is very clear this truth. Therefore, the author can be basically determined here. He boldly adopted a "time out" approach to his own unique style of expression language.

This completes: The imitation of something is not the imitation of the thing itself, at the same time, the imitation of something is the imitation of the thing itself this is a double-sided dilemma. This result is the best result that Morandi can achieve. Because people cannot transcend natural norms. That is to say that people themselves have insurmountable limitations.

Second, the more difficult "Morandi construction" is carried out from the second level. That is "abstraction." Morandi's abstraction has two dimensions, a "focus" that other artists deliberately avoid or ignore or do nothing about. On the first level, the previous article has been more detailed analysis, is about the "existence" of the two-dimensional compression; the second level is human nature: The vision itself is an abstract function! The word "Latin" is abstract: abstractio, meaning to exclude, extract. According to the author's understanding, it usually means to extract the concrete image, and its implication is ―― incomplete. From the point of view of Western science, it refers to the simple extraction of a certain characteristic of things to be understood. However, in terms of any particular existence, its characteristics are manifold: area, volume, material belonging to human vision. But we all know that vision is only a tiny part of perception. Others have sound, taste, taste, texture, whether there are other characteristics? There must be some, but human science is not yet discovered. So as far as human vision is concerned, it is also very humble. As a result, the visual itself is only a part of the "existence" and a small amount of information used as a perceptual function. Therefore, the vision itself is the abstraction of "existence". The "existence" we see is not the ontology of existence! Morandi the original text: "I believe that nothing is more abstract and unreal than what we see in the world." "That's exactly what it means. The Morandi of art has been shown here to the metaphysical thinking of the former. The Thinker's painting is a place where there is nowhere to reveal the drift, and the painter's thinking is that there needs to be layout and padding. These are two different patterns of painting. The former belongs to the Morandi type painter, the latter belongs to "craftsman" type painter. There is an essential difference between the two, but there is no difference. This is also the philosophical construction of Morandi, is also the ancient Greek-style: The existence is inevitable! Morandi's aesthetic construction is based on the philosophy of "existentialism". So he offers a way to go beyond that: every piece of work he is observing, but not at all to a value or a sense of judgment.

Returning to concrete works to see Morandi's aesthetic construction, perhaps we can see some clues from the "concrete".

This is the two works of the George Molandi 1951, the relationship is self-evident. First of all, we see the lack of detail, and then see the color of the "boring" changes, but the structure of the work and arrangement of the situation is very quality, and dynamic highlight. The strangest is the clarity of the sense of layering and the flow of light. A "subtle sense of roughness" fills any point in the work.

As far as painting is concerned, the author thinks that the most beautiful painting is not the precise grasp and distortion of detail and structure, because this is the basic Painting foundation. But for the taste of space and the perception of light to grasp. At this point, Morandi almost did it.

The difference between the traditional and aesthetic tastes of Western painting and the Oriental painting is "stay white", leaving White is a kind of aesthetic construction for the appreciative, which gives the appreciative and private aesthetic space, which makes the aesthetic and aesthetic objects enter into a perfect coincidence space, and the distance between the two is infinitely closer and finally fused into one. This kind of aesthetic is actually giving the work itself complete freedom, the work is liberated by itself, this kind of liberation also will the appreciation of the inside, make the appreciation in the aesthetic process is completely liberated. So Picasso once said: "The real art in the east. I really don't understand why I want to find art in the West.”

Western painting is more inclined to convey, convey the message, a communication of the individual's spirit, this kind of communication is so urgent, so can not be satisfied. This is consistent with the Western traditional spirit, the individual spirit of independence, the Greek contract spirit, Montesquieu's separation, established a declaration of individual independence: Who am I? Where am I supposed to go? Why am I here? So art has become a testament to the "existence" of this manifesto.

Oriental perception of the world's aesthetic view and the western interpretation of the world's aesthetic view in the George Molandi of the integration of his own aesthetic construction. This aesthetic construction provides a possibility of art, which may perhaps provide a new path for the aesthetic of mankind, a real world on the metaphysical of beauty.

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