張萬傳風景畫研究

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2008

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台灣第一代西畫家們,多數是藉由到日本留學,吸取經由日本西畫家消化過的西方美術,再將那經過篩選的一部份西方美術帶回台灣。而張萬傳則是將野獸派與表現主義風格帶回台灣的第一個野獸派畫家。 留日時,受到當時以野獸派風格活躍日本畫壇的二科會啟蒙個人主義思想,加上參觀烏拉曼克展覽的影響,風格逐漸趨向野獸派畫風。張萬傳所處之環境與時代,讓他同時深受當時印象派與野獸派之影響。執著於野獸派的張萬傳以「在野」的姿態活躍於畫壇。 本研究意在了解張萬傳風景畫的藝術成就,運用「文獻探討法」、「作品收集與彙整」、「田野調查法」、「風格分析法」、「統計法」,企圖深入了解張萬傳風景畫各個時期的風格特色,包含風景畫的色彩、風景畫使用媒材、風景畫主題分析、風景畫構圖、風景畫簽名方式、風格演變脈絡以及藝術價值。
Most of the first generation of Taiwan western painting artists had studied in Japan. They absorbed the essence of western arts purified by Japanese artists and brought back that extracted part of western arts to Taiwan. Chang Wan-Chuan was the first one to bring back the 〝Fauvism〞 and〝Expressionism〞painting style. When studying in Japan, Chang Wan-Chuan’s individualism was enlightened by the Nika Association which was active in Japan for its 〝Fauvism〞painting style. Besides, he was also influenced by Vlaminck’s exhibition. Gradually, his painting changed towards the 〝Fauvism〞 painting style. At that time and in that environment, Chang Wan-Chuan was deeply influenced both by the 〝Expressionism〞 and〝Fauvism〞painting style. He was active in the painting world as a “non-mainstream”artist by his fixing on the 〝Fauvism〞. This research focuses on observing Chang Wan-Chuan’s achievement on landscape painting, adopting the methods of 〝Literature Survey〞、〝Art works collecting and arranging〞、〝Field Work〞、〝Style Analysis〞 and 〝Statistics〞. It also tries to thoroughly understand the developing history of Chang Wan-Chuan’s handling of colors、medias、illustrations、signature style and art value in his landscape paintings during each period.

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台灣, 張萬傳, 風景畫, Taiwan, Chang Wan-Chuan, landscape painting

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