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论文作者:www.51lunwen.org论文属性:本科毕业论文 Thesis登出时间:2014-07-27编辑:felicia点击率:11973
论文字数:6932论文编号:org201407252245052488语种:英语 English地区:中国价格:免费论文
关键词:埃贡·席勒表现主义Egon Schieleexpressionismdriving force
摘要:本文是一篇艺术学留学论文。埃贡·席勒的画常常带来出人意料的效果,令人难忘,在当今世界,经济、社会、个人都会对他的艺术创作产生巨大影响,他自身所处的时代和环境正是他灵感的来源,使他可以发现另类的自己,这是一个艺术家独特的创作动力。本文从埃贡·席勒的作品风格和作品特色出发,分析其作品中所体现的表现主义。
Who can be surprised that Adler's 'discovery' of the inferiority complex, and of compensating assertiveness, was made in a society traumatized by dazzling decline? It was as if the city which spawned Arthur Schinitzler and Sigmund Freud feared to awake from its tuneful dreams to prosaic reality.” Indeed, the times in which Egon Schiele was making his mark on the Viennese establishment was a time where the Viennese art community were at their most conservative, or most susceptible to lapsing into these “tuneful dreams”. Schiele's self-imposed mission, it seemed, was to violently shake these people into a state of consciousness.
But that isn't to say that Schiele existed entirely in a vacuum, living entirely by his own rules. Comini stresses that: “The content of Schiele's Expressionism then was a heightened sense of pathos and impending doom, and an acute awareness of the self. Schiele's Expressionist form drew from the great European reservoir of Symbolist evocativeness.” So, from a veritable melange of varying influences, Schiele managed to get his form, which combined that of exceptional draughtsman, with an inescapable desire for portraying the artistry of “ugliness”, something of which Schiele was something of a pioneer.
In 1897, Schiele joined the painting class of Christian Griepenkerl; who was a deeply conservative artist devoted to neoclassicism, or the slavish devotion and replication of classic works of art. This involved long hours copying the works of the Old Masters at Vienna's Academy of Fine Art. Schiele was enrolled for his superior draughtsmanship, but he was eventually alienated from it because he didn't see the relevance or the importance in neoclassicism. Thus, he became something of a troublemaker to the establishment, and was eventually forced out.
This was echoed 100 years hence by the Romantics; an art group who pursued a loose programme intended to reinvest art with emotional impact. The Romantics, however, proved too unpalatable to the Viennese citizenry, who instead preferred the work of Biedermeier artists. Kallir says: “On the whole, Germans proved more receptive to Romanticism than Austrians who shied away from such intense expressions of feeling and took refuge in the mundane cheer of the Biedermeier.” She goes on to say: “Biedermeier […] was geared more to the applied than to the fine arts, though in all its myriad incarnations it promoted the personal comforts of the middle class Burger. Biedermeier painting revolved around idealized renditions of everyday life, scenes of domestic bliss, genre pictures portraying ruddy-cheeked peasants, and picturesque views of the native countryside.”
Being born into this highly stringent, conservative environment must have shaped Schiele's defiance somewhat, as Schiele not only seems to break with what was established in Vienna as profitable art, but he almost seems to occupy exactly the opposite role. Even i本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。