I. teaching material analysis
(A) Teaching objectives
What does art appreciation really appreciate? This is a practical and unclear problem for ordinary people. Starting from this lesson, we will enter the professional knowledge learning stage of art appreciation. The first thing we encounter in this class is the artistic beauty and formal beauty of works of art, which is very important to appreciate works of art. So the teaching goal of this course is to let students know: 1. What is the artistic beauty and formal beauty of works of art; 2. The basic principles of artistic beauty and formal beauty of artistic works and their main manifestations in works.
(B) the content structure
This lesson mainly includes three parts.
The first part puts forward that the artistic beauty of artistic works is the unique beauty of art through the work Omeir by the French sculptor Rodin, so as to change the aesthetic concept of "beauty" or "good-looking" of ordinary people. Because this concept of ordinary people is deeply rooted, it not only affects people's understanding of beauty, but also hinders the appreciation of works of art. Therefore, it is emphasized that works of art are the second nature created by artists, which is different from real life.
Then in the second part, "What is artistic beauty? How is its performance? " Explain "artistic beauty" and its expression. This involves the concept of "artistic image". You can refer to the explanation of the concept of "artistic image" in the third lesson. However, the "artistic image" or "artistic image" mentioned in this lesson no longer refers to a specific image in a specific art type, and it is not an identifiable image of people, environment and props in concrete art, but an "artistic" image created by three types of artistic works, which is the embodiment of the overall image of artistic works, that is, it exists in the whole artistic works. The artistic beauty of works of art lies in this overall artistic image.
The third part "What is formal beauty? How to understand and grasp formal beauty? " Starting from Pan Tianshou's The Lion, this paper explains what is formal beauty, and points out that artistic beauty and formal beauty of works of art are mutually inclusive, penetrating and independent. Here, let's briefly explain what "form" is, and then explain three main aspects of form in detail: 1. Language elements of art (point, line, surface and color) and their morphological changes; 2. Language means (light and shadow, space, perspective, composition, texture) and their aesthetic images; 3. Language rules (change and unity, contrast and harmony, symmetry and balance, proportion and scale, rhythm and prosody, etc. ) and its aesthetic relationship. The formal beauty of art works mainly comes from this.
(C) the focus and difficulty of teaching
Learning and mastering the artistic beauty and formal beauty of works of art is a sign that art appreciation has entered a professional level, even if students break away from the natural state that can only distinguish "beauty" from "ugliness" and enter a higher aesthetic stage, as the beginning of "cultivating aesthetic vision". Therefore, the focus of this course is to explain that the artistic beauty and formal beauty of works of art are not completely a direct reflection of reality, nor are they equivalent to what people generally call "beauty" or "good-looking". Instead, artists use specific artistic language, means and rules to create the beauty of art itself, and this beauty is diverse, that is, different types of works of art have great artistic beauty and formal beauty because of the different languages, materials and means adopted by artists. In order to illustrate this point, we must closely focus on the language elements and language rules of art here, because the artistic beauty and formal beauty of works of art are mainly realized through them.
The teaching difficulty of this course mainly lies in that the artistic beauty and formal beauty of works of art are both concrete and abstract. In other words, the artistic beauty and formal beauty of works of art can be mastered through knowledge learning, but it is largely a matter of personal feeling. At the same time, this class will also involve many abstract concepts, which will also add a lot of difficulty to the teaching of this class. In this part, we should pay special attention to the explanation of concepts and establish the connection between concepts and works, that is, pay attention to explaining concepts through works, so that students can have an image understanding basis for the artistic beauty and formal beauty of works of art.
The difficulties here also include the explanation of the similarities and differences between artistic beauty and formal beauty of works of art, which is not specified in the paper, but is briefly pointed out in the third part of the text, but teachers need to have a clear understanding of this. The artistic beauty and formal beauty of works of art overlap and are independent of each other. Generally speaking, the artistic beauty of works of art is a unique artistic beauty created by artists through artistic language elements and language rules, including content and form. In other words, artistic beauty is achieved through the unity of content and form. At this point, it has the same source as the formal beauty of works of art. But the two refer to different things. The so-called "artistic beauty" mainly emphasizes the unique and comfortable beauty that art is independent of reality. This kind of beauty may be seen directly in reality, or it may not be seen at all. It is prompted by the concentration of artistic works. Although the formal beauty is also extracted from reality by artists with the help of artistic language elements, language means and language rules, it emphasizes the means to realize the content, that is, the beauty of the means itself, including the composition of the language and the characteristics of the materials used. However, the infiltration and inclusive relationship between artistic beauty and formal beauty of works of art makes this problem very complicated. Teachers should pay attention not to dwell too much on this issue, as long as they simply point out the independence of artistic beauty and formal beauty of works of art and the difference from reality. Because we need to keep learning and accumulate a lot on this issue, we can have a more accurate grasp and understanding. This is a long-term learning process.
Second, the teaching content information
(A) analysis of works
Homer (sculpture, 1885) Rodin (France)
Auguste rodin (1840- 19 17) was born in a poor Christian family in the Latin slum of Paris. His father is a clerk and his mother is a maid. Rodin took part in various handicrafts since he was a child, and worked as a jeweler, jeweler, plasterer, carpenter and mold maker, from which he gradually fell in love with art. Although his father disagreed, his sister supported him very much and provided him with a meager salary for his study. Therefore, Rodin was able to study painting in a painting and mathematics school in Paris, which trained arts and crafts technicians, but he soon transferred to a sculpture class because he could not afford oil painting pigments, and became a student of the famous animal sculptor Baye at that time. After three years of study, he laid a good foundation for traditional sculpture, but he failed to apply for the Paris Academy of Fine Arts for three years. An examiner gave him an evaluation: "There are no talents in this life, and it is a waste to continue to apply." This gave him a big blow, but the bigger blow was the death of his sister. From then on, he became disheartened and became a monk in a monastery. Fortunately, the abbot, Father Emma, discovered his talent and encouraged him to continue his artistic creation. He also arranged a studio for him in the monastery. In order to express his gratitude to the priest, Rodin made a bust for the priest, from which we can see Rodin's extraordinary things.
The inspiration for "Ou Mo" actually comes from Rodin's keen research on a former model and an Italian old woman. Through his deformed and ugly image, he expressed his strong sadness and despair about life. Rodin recorded all the unbearable body shapes of the elderly in a very realistic way. But Rodin is not only trying to reproduce the ugly body of the elderly, he also symbolizes the end of people's greed in an unparalleled ugly form, that is, the "sin" people committed in pursuit of pleasure, as well as the retribution and punishment for their depravity. This is undoubtedly a reflection, a reflection on the ugly body image behavior of contemporary human beings, and a reflection on the tragic fate of human beings in the era when capitalist money competition and pleasure caused disasters. This ugly and declining ending shows the price of human pursuit of pleasure. Therefore, the uglier the human sculpture "Eumer" is, the more it shows the author's deep sympathy for human beings, reflecting the huge price of human pursuit of pleasure. The uglier, the more credible and practical. Rodin used his ugly body image to show the sin, depravity, pain and despair of contemporary people, and also showed the author's criticism, sympathy and praise to contemporary people.
Epson Horse Racing (oil painting, 92cm× 122.5cm, 182 1 year, in the Louvre, Paris) Jericho (France).
Jean-Louis Theodore Gericault (1791-1824) was born in a lawyer's family in Rouen and moved to Paris with his family when he was young. Jericho entered Glenn's studio at the age of 19, and Glenn thought he had extraordinary talent. Jericho's early works show his generosity and enthusiasm. Because he loved riding since he was a child, he became an expert in horse painting in the future. 1816-1817 When he went to Italy, he fell in love with the works of Michelangelo and Italian baroque painters. When Jericho arrived in Rome, he didn't plunge into the art gallery, but found his own life in the street: the annual Roman carnival was being held in the People's Square, and a group of pommel horse athletes were ready to participate. These are young farmers. The boiling crowd barely flashed out of a narrow passage, allowing the rushing audience to climb the houses and churches to cheer for the racers. This excitement and pomp aroused the painter's interest. Jericho drew many sketches of horses on the spot. This painting "Horse Racing in Epsom" reflects his tendency in this period and was completed during Jericho's visit to Britain (1820- 1822). He got the theme from Italy, and after visiting abroad, he brewed this horse racing theme work. From a historical point of view, Jericho's trip to England is of great significance, because after his return from England, he established a series of later creations with horses as the theme. Jericho died at the age of 33 in an accidental horse fall in 1824.
As a pioneer of romanticism, Jericho took a crucial step towards romanticism and modernity. He took the lead in launching a general attack on the tradition of the Renaissance, which is a representation of the visual reality that has continued since the end of the Renaissance. This kind of reappearance has always put artists in a rather passive position. Starting from romanticism (even some extreme explorations of neoclassicism), the individualization of art, the dynamic position of artists and the value embodiment of art itself have gradually occupied a dominant position. Reality has only become a reference for the independent development of art and artists, and the significance of art has surpassed reality, or the artist's concept of reality has changed. Jericho did not reproduce what he saw here, but expressed what he saw emotionally, which represented the characteristics of romanticism.
Xiongshi (Chinese Painting) Pan Tianshou
Pan Tianshou (1897- 197 1), formerly known as a gifted painter, was called a freshman and lived a long life. He was a constant servant in his later years and was from Guanzhuang, Ninghai County, Zhejiang Province. He is one of the most outstanding China painters and art educators in modern China. 19 15 Pan Tianshou was admitted to Zhejiang First Normal University, and was a student of Li Shutong and Jing Xiangyi. From 65438 to 0923, he was a teacher of Shanghai Women Workers' School in the Republic of China and a teacher of Chinese painting department of Shanghai Academy of Fine Arts. Began to study Chinese painting, and had close contacts with Wu Changshuo, which was praised by Wu Changshuo. 1928 was appointed by Lin Fengmian as the director and professor of Chinese painting department of West Lake Chinese Painting Academy. After 1944, he became the principal. Pan Tianshou is good at freehand brushwork of flowers and birds, landscape painting, figure painting, calligraphy and seal cutting, especially finger painting. China's painting history and painting theory also have deep research and unique insights. His flower-and-bird paintings are unique and unique, and he pursues majestic momentum regardless of composition or pen. This is not only a portrayal of his upright character, but also a reflection of the collective personality of modern China. This painting "Xiong Shi" is one of his representative works, which shows Pan Tianshou's artistic characteristics of pursuing strangeness, preciseness and stability in danger in composition and theme treatment. It is precisely because of Pan Tianshou's outstanding artistic achievements that he, together with Wu Changshuo, Qi Baishi and Huang, is called the "Four Modern Masters".
Chun Xue (Chinese painting, 69.5cm×138cm, 1984) Wu Guanzhong.
Chun Xue embodies Wu Guanzhong's consistent artistic pursuit, but it is a more lyrical painting among similar works. Although the painting is large in area, it still gives people a sense of wholeness. It seems that there are only a few large pieces of ink on the screen, and some colors are used in a few places between ink spots and ink lines, but strangely, a magnificent and beautiful snow mountain appears in front of us. The author skillfully uses language elements such as point, line and surface, gives full play to the language characteristics of Chinese painting, embodies the formal beauty and artistic beauty of Chinese painting, and gives people artistic enjoyment.
Lao Wang (oil painting, 76.8 cm× 54 cm,1916—1917, collected by Carnegie College of Pittsburgh) Luo (France).
George? Luo (1871-1958) was born in a joinery family, and was originally a student of the French symbolist painter Morrow. After Moreau's death, he was appointed as the curator of the art museum, displaying Moreau's works, which was like-minded with the fauvism painters.
Luo's works are full of religious feelings. He hates the moral corruption of French society. When he went in and out of the Paris District Court, he often saw some "people who lost God's favor", so he added images of prostitutes, arrested gangsters and ruthless judges to his paintings.
This painting "The Old King" embodies the characteristics of stained glass window painting. The color is very strong, and the outline of the black hook reflects the unique artistic beauty and formal beauty of oil painting. The profile of the old king is very sad, not like a king, but like the incarnation of a victim, almost like the suffering of Christ. This painting was created around1916-1917. During the two world wars, Luo revised this painting many times to express the painter's sympathy for the suffering people. He wrote in his memoirs: "I am a silent friend of people who suffer in the wilderness." I am an ivy vine of eternal suffering, climbing on this abandoned wall, and inside the wall are the evil and good hidden by rebellious people. As a Christian, I believe that Jesus was crucified. "
Salute to the Square (oil painting, 120.7 cm× 120.7 cm, 1959, collected in Guggenheim Museum, new york) Albers, USA.
Joseph? Albers (1988— 1976) was born in Portrop. At the age of 32, he entered Bauhaus College as a student and stayed there to teach. When Hitler closed Bauhaus on 1933, he was one of the first teachers in this college to move to America. In the United States, he became one of the most influential figures who advocated the Bauhaus design revolution and the new concept of design means. He became the main position to spread his thoughts in the famous Black Mountain College in North Carolina, and also the base camp for American avant-garde artists to gather and get inspiration.
Albert's careful study of color vision structure in theory and practice spread through his teaching and works, which had an important influence on American abstract art1950-1960 He left Montenegro College and became the head of the department of architecture and design at Yale University. During this period, his famous oil paintings and series of square paintings began, both of which were named "Salute to the Square". This group of works made him reach a series of peaks in the exploration of abstract reduction and optical illusion. In fact, before Vasarelli and the Paris visual art exploration group, Albers had created a dynamic perceptual painting, and his creation turned Bauhaus constitutionalism into a more dynamic abstract art. His series "Salute to the Square" started at 1959 made him almost vividly repeat the theme he started earlier, although it was not very clear, that is, overlapping squares of different colors and proportions and different variants, which made him
Night Tour (oil painting, 365cm× 438cm, 1642, Amsterdam Art Collection) Rembrandt (Netherlands)
Rembrandt (1606— 1669) is a great Dutch painter, not only an outstanding oil painter, but also a famous copperplate painter. He has profound attainments in figure painting, genre painting and landscape painting, which makes him enjoy a lofty position in the history of art.
Rembrandt was born in a miller's family in Leiden. He received a good education and went to college, but soon left school to study painting. At the age of 2 1, he had mastered the basic skills of oil painting and copperplate printing and began to form his own style. He opened a studio in his hometown to take orders. 163 1 year, he left his hometown and settled in Amsterdam, the largest city in the Netherlands, and soon became a famous local portrait painter. 1634, his beloved wife died of illness, and then Rembrandt married a maid, which caused strong dissatisfaction among his relatives, so that he slandered his reputation and occupied his property. Finally, Rembrandt got into trouble and had to move to the slums. But Rembrandt didn't stop at art, on the contrary, because of the ups and downs of life, his observation and understanding of society was deeper and his artistic vision was broader, which made his art reach its peak. In his later years, after he finished his famous masterpiece "Director of Nibu Trade Union", his stepwife and only son died one after another. 1669101On October 4th, the most outstanding painter in the Netherlands finally died in extreme poverty. Although his relics are only painting tools and worn-out clothes, he left a lot of extremely precious artistic heritage to mankind (600 oil paintings, 300 prints/kloc-0, and about 2000 sketches and sketches).
Portrait occupies a large proportion in Rembrandt's works, and the estimated total number of his self-portraits preserved at present is between 60 and 100. His painting style is mainly manifested in using light to shape the body, express the space and highlight the key points. The picture has a strong contrast between light and shade, a combination of reality and reality, rich levels and vivid charm, which was later called Rembrandt-style light and shadow painting.
Night Patrol is an important masterpiece of Rembrandt in its heyday. It is a customized group portrait of the militia headquarters in Amsterdam, the Netherlands. Regarding this painting, it was said in the past that the customizer of this painting was very dissatisfied with the finished work, because only a few main characters were highlighted in the painting, and many people painted in inconspicuous positions. They asked the painter to revise the painting, but Rembrandt refused. The painter sued the court for this, Rembrandt lost the case and became an unpopular painter from then on. His poor life in the second half of his life is also related to the painting "Night Patrol". In recent decades, through the research of multinational experts, it has been proved that the above statement is not reliable. It was created by some biographers after Rembrandt's death in order to render the so-called genius often incomprehensible before his death. In fact, the painting "Night Patrol" was finally accepted by the customizer, and Rembrandt was paid in advance.
In any case, this group of portraits is creative in terms of the work itself. The painter used the expression technique close to the stage effect of the drama, arranged the plot that a group of militiamen were ordered to gather and set out to perform their tasks, and dealt with these militiamen rhythmically. Ning, the leader of the militia? Kirk is assembling a team, so he is in a prominent position on the screen. It seems that he is talking to his subordinates and coming to the audience. Other militiamen, some beating gongs and drums, some waving flags, some wiping gun barrels, and some holding long guns, showed various manners and manners, but they were all unified in the plot of preparing to assemble and set off. The whole picture has a strong contrast between light and shade, but it is also layered, which constitutes a combative composition and fully embodies Rembrandt's unique artistic style. It should be noted that this painting was originally painted during the day. Because this painting was painted with a thick glossy oil layer by later generations, coupled with long-term years of erosion and air pollution, the picture became gloomy, as if it were a night scene. From around 1800, the name of this painting was misrepresented as night patrol.
The form of continuity in space (sculpture, height 1 10.5cm, 19 13, new york Museum of Modern Art) Bochuni (Italy).
Umberto? Bochuni (1882- 19 16) is a well-read and talented artist, and also an important theorist and soul figure of futurism. He wrote two manifestos of futurism-Manifesto of Futurism Painting Skills and Manifesto of Sculpture. He advocates that artists should actively participate in modern scientific and technological civilization, strive to show these achievements in art, and encourage artists to capture the movement, life and speed in modern life. In Bochuni's mind, the expression of sense of movement is the primary issue in art, so his works are always full of movement. Bochuni is the most talented artist of futurism. Unfortunately, his art has not been fully developed. When World War I broke out, he volunteered to join the army. 19 16 died in Italy at the age of 34.
Bochuni tried his best to express the movement process in the sculpture "The Form of Continuation in Space", that is, to introduce the time factor into the plastic arts, so he created this work. This is a full-length portrait of a fast-moving figure, but this image has no five senses and arms. The artist connects every movement step of this person and creates a new modern mechanical image full of movement. It has the characteristics of freehand brushwork. Although it has no complete facial features and hands, and it is not a real human body, we can still feel a kind of strength and speed from its dynamics, and create a fast-moving character impression in human vision.
Space design Ritwitt (Netherlands)
At the beginning of the 20th century, in Holland, de stijl movement responded to the elegant sculpture art style of Amsterdam School, and only paid attention to the objectivity of art. They refused to use the natural form of objects, but tried an abstract artistic language composed of three primary colors: straight line, black, white and gray. Mondriaan is one of the founders of "de stijl", and his paintings have been widely recognized. In architecture, straight lines and planes cross each other, suggesting that architecture represents spatial continuity rather than closed boundaries.
The building that best shows the characteristics of De Steagall is a residence in Utrecht, which was designed by Ritter (1888— 1964) in 1924 with his client and interior designer Mrs Slaud. The building is located in an open space on the outskirts of the city, just like a three-dimensional painting of Little mondriaan. It is not so much a habitable building as a decoration. The architectural form is clear but light, and each part is composed of surfaces and lines, which is subtle and elusive, making the building itself a spatial experience.
Lancer (sculpture, height 198cm, 5th century BC, Roman replica, archaeological art collection in Naples) Bereuclitos (Greece).
Perikles was one of the most famous sculptors in ancient Greece in the 5th century BC. He is good at expressing the image of young athletes, and all the materials used are bronze. It is said that he also wrote a book about human proportions, in French. Unfortunately, none of his original works exist. The spear bearer here is depicted as a strong and energetic young soldier, which reflects the ancient Greeks' reverence for the soldiers who bravely defended their country after the victory of the Greek-Persian war. At the same time, it is also a verification of the author's long-term research on the proportion of human body. He thinks that the ideal proportion of the human body, that is, the ratio of the head to the whole body is 1: 7, and the ratio of the upper and lower bodies divided by the center of gravity near the navel is the approximate value of the golden section of 5: 8, and the vertical line of the center of gravity of the body falls on the right foot. The whole statue forms a unified composition, with balanced movements and extremely perfect harmony.
Af Loutit of Milos (sculpture, height 202 cm, BC 1 century, Louvre Museum in ancient Greece).
This statue was found in a cave on the island of Aegean Hermes, and it was a work of the Greek period. Aphrodite Ludi's Roman name is Venus. This beauty and freyja, in Greek and Roman mythology, have become the representatives and incarnations of all female beauty. Since Praxy, a famous sculptor in the 4th century BC, countless sculptors have enthusiastically praised this goddess who embodies the gentleness, beauty and eternal youth of women in various nude portraits. However, so far, the most impressive and intimate statue of the naked goddess is Aphrodite Ludi of Milos. Although her arm is incomplete, her lifelike and impeccable anatomy still gives people a complete sense of beauty, so that many replicas of sculptors who repaired her arm in later generations are eclipsed by the original. This statue can be appreciated from all directions, and no matter from which angle it is viewed, it has a certain unified and changeable beauty. The face of the goddess has the typical characteristics of Greek women-straight nose, oval face, narrow forehead and full chin. This just shows that the Greek gods were created by the Greeks in their own image. Her serene and confident eyes and slightly smiling lips give people a feeling of reserved wisdom, without that kind of feminine self-pity expression. She made people understand the aesthetics of the Greeks more than two thousand years ago: striving for the unity of external beauty and spiritual beauty. The plump figure and generous appearance reflect youth, bodybuilding and abundant vitality, as well as inner education and virtue. All this depends on the simplicity of the sculptor, but at the same time it shows rich changes and implicit beauty in the human body dynamics.
(2) Definition of nouns
The laws and rules of beauty
In a sense, law is consistent with law, because law embodies the law of things and law is presented through law. The understanding and summary of the laws and rules of beauty began in ancient Greece, which was mainly embodied in architecture and sculpture at that time, and then gradually extended to painting, forming the basic norms for plastic arts to produce artistic beauty and formal beauty. In ancient Greece, the law of art had three characteristics: (1) was regarded as the most perfect art form norm and the guarantee to achieve perfect art; (2) It is embodied in the form of proportion, which can be expressed in specific quantities, such as the proportion between parts of things, the golden ratio, etc. (3) Flexible and changeable, which can be appropriately adjusted with the changes of people's aesthetic and visual needs, but there is only a relative space. Such research provides an important basis and means for plastic arts to create their own artistic beauty and formal beauty, and artists can create beautiful images that conform to people's visual feelings according to such laws and rules of beauty. That is to say, the laws and rules of beauty are created according to the proportional relationship between nature and people, the expression of natural art, and the universality of these laws and rules. Among them, people summed up the laws of change and unity, contrast and harmony, symmetry and balance, proportion and scale, rhythm and rhythm.
aesthetic values
That is, aesthetic objects can meet people's aesthetic needs, thus causing aesthetic feelings. Aesthetic value is based on the practical relationship between people and things. By virtue of the law of beauty, man's essential strength is objectified, that is, his existence and value are confirmed in the object, so that he can enjoy himself. However, aesthetic values are gradually formed in the process of historical development, so they are restricted by times, classes and nationalities, that is, the aesthetic values of different times, classes and nationalities are different, so the understanding, imagination and expectation of beauty are also different.
Change and unity
The advanced form of the law of formal beauty is also called diversity and unity, and harmony. From uniformity, symmetrical balance to diversity and unity, it is similar to everything in life, second life, third life and third life. The unity of change embodies the law of the unity of opposites between life and nature, and the whole universe is a diverse, unified and harmonious whole. "Change" or "difference" embodies the diversity of individual characters of things, and "one" embodies the * * * or overall connection of things. Diversity and unity are the characteristics of objective things themselves. The shapes of things themselves include size, Fiona Fang, height, length, straightness and skewness; Quality is rigid, thick, energetic, dry and light; Potential has the characteristics of rapidity, mobility, convergence, fluctuation, advance and retreat, and ups and downs. These opposing factors are unified in concrete things to form harmony. The formation of the law of diversity and unity is the same as the requirement for the organic combination of various factors when human beings freely create a complex product that is neither messy nor monotonous. Diversity and unity make people feel rich and simple, lively and orderly. This basic law includes symmetry, balance, contrast, harmony, rhythm, proportion and other factors. Therefore, "unity of change" or "unity of diversity" is generally regarded as the basic law of formal beauty.
proportion
The dimensional relationship between the parts of modeling. There are proportions between parts, between parts and the whole, between the vertical and horizontal of the whole, and so on. Moderate changes in size and quantity are proportional. Moderate changes in size and quantity can produce aesthetic feeling, such as the "golden ratio" is typical.