تعداد نشریات | 25 |
تعداد شمارهها | 924 |
تعداد مقالات | 7,621 |
تعداد مشاهده مقاله | 12,424,177 |
تعداد دریافت فایل اصل مقاله | 8,843,453 |
فرایند رویت تا خلق اثر در نقاشیهای مجموعهای امپرسیونیستی کلود مونه | ||
پژوهش نامه گرافیک نقاشی | ||
مقاله 9، دوره 6، شماره 10، شهریور 1402، صفحه 123-134 اصل مقاله (808.21 K) | ||
نوع مقاله: مقاله پژوهشی | ||
شناسه دیجیتال (DOI): 10.22051/pgr.2023.43311.1207 | ||
نویسندگان | ||
الهه شمس نجف آبادی* 1؛ افسانه ناظری2 | ||
1هنرهای تجسمی، دانشگاه هنر اصفهان، اصفهان، ایران | ||
2دانشکده هنرهای تجسمی، دانشگاه هنر اصفهان، اصفهان، ایران | ||
چکیده | ||
بازنمایی تصویر در آثار امپرسیونیستی کلود مونه، نحوه رویت طبیعت را به صورتی دیگرگونه به تصویر میکشد؛ گونهای از نگریستن که به تناسب و ضرورت، شیوه خاصی از بازنمایی را میطلبد. توصیف و تفسیر نوینی که مونه از طبیعت ارائه میدهد، چهرهای متفاوت از این مقوله آشنا و تکراری را بر بوم باز میتاباند. افزون بر این، وی با تمهیدات و شگردهای نوین بصری، تحولی شگرف در زمینه موضوع نقاشی و شیوه ساخت آن ایجاد میکند. در پژوهش پیش رو، نویسندگان بر آن بودهاند تا با هدف بررسی شیوه نگریستن مونه و در پی آن تحول در زبان تصویری وی، براساس بازنمایی لحظه، روش ادراکی نقاش را با عطف به ارزشهای تصویری مورد تحلیل و تفسیر قرار داده و به این پرسش پاسخ دهند که نحوة رویت طبیعت در نزد مونه چگونه در فرایند خلق اثر به کاربست تکنیک و تمهیدات بصری خاص انجامیدهاست. روش پژوهش توصیفی-تحلیلی و مبتنی بر شیوه رویت و ادراک مونه از طبیعت در حال گذار بودهاست. یافتههای پژوهش نمایانگر آن است که طرح لمحهای چون لحظه آنی برای مونه بهمثابه مقولهای فرار و احاطهناپذیر، سبب میشود که موضوع نقاشی حکم آینه بازتابدهندهای را بیاید که شرایط جوی هر دم متغیر را در لحظه آنی استحاله ثبت کند. مونه این چنین حقیقت مسلم و ثابت انگاشتهشده طبیعت در شیوههای پیشین نقاشی را به ادراک و تجربه فردی هنرمند در لحظه معطوف میکند. مونه با اولویتدادن به نور و ادراک و به واسطه بهکارگیری تمیهدات بصری متناسب با نگرش خود، به گزارش احساس خود از طبیعت میپردازد و به سنت رئالیسم ژرفنمایانه پایان میبخشد. او در بازی متقابل و متعارض انعکاسها و روشنیها تعامل شئ و محیط را برجسته میکند و بیش از موضوع سعی در فراچنگ آوردن جایگاهی نادیدنی و احاطهناپذیر را دارد. | ||
کلیدواژهها | ||
کلیدواژهها: رویت طبیعت؛ فرایند خلق اثر؛ لحظه اکنون؛ نقاشی؛ کلود مونه؛ امپرسیونیسم | ||
عنوان مقاله [English] | ||
The Process of Seeing to Creating an Artwork in Claude Monet’s Impressionistic Collection Paintings | ||
نویسندگان [English] | ||
elaheh shams najaf abadi1؛ Afsaneh Nazeri2 | ||
1Art university of isfahan | ||
2art university of isfahan | ||
چکیده [English] | ||
Claude Monet is known as the pioneer of the first completely modern movement in painting by presenting a different painting. In this work, instead of a completely naturalistic description of a sunrise scene, he records the immediate impact of the landscape on the eye by focusing on the transformations of light and color. In this way, nature in Claude Monet's works is more than the subject, it is an excuse for experiments that make him to leave the workshop and bring him a scientific and new vision to light and colour in contrast to the typical workshop painting style. In sunrise scene, Claude Monet shows a way of perception and vision that critics use the word "impression" to describe it. In his impressionist paintings, he is searching for a way to record the immediate visual perception of the subject, which in this regard changes the previous fixed principles in the field of painting and in general the thinking of the audience of the work. So that it provides a new description and interpretation of the usual and familiar category of nature. The nature in Monet's paintings shows that the painter is more concerned with describing nature than trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature makes it dependent on the individual experience of the artist from an independent and unchanging presence. His emphasis on visibility shows that the nature of the subject depends on the fleeting light conditions and that the subject of the painting is not visible to everyone in the same way. In this regard, by using the new theories of the emergence of colour and following the previous achievements of Barbizon painters, he turns nature from a completely naturalistic treatment into an excuse for another way of seeing and representing nature. By focusing on the change that governs nature and also human perception, Monet diminishes objective reality in contrast to sensory perception. Focusing on the transitory and fleeting states of nature, he reveals an invisible and absolutely necessary field to make nature visible. The idea of series paintings by prioritizing the atmospheric conditions, for the first time diminishes the importance of the subject of the painting and encourages the painter's eye to push back the main subject and focus more on the invisible field, which makes the subject visible. At this time, the visible subject finds the rule of a reflecting mirror, which records the invisible conditions of every variable in a random state. With this preparation, Monet reveals the issue of how the subject of the painting has an existential cause related to an invisible realm. Based on this, Monet changes the framework of attention from the visible subject to the realm of invisibility, which, above all, requires the use of a method different from the common method. Unlike the previous painter, Monet is much less concerned with the description of the subject, beyond that, he is trying to achieve a pure visual-pictorial expression and to induce a sense of the subject to the audience. In This kind of painting, subject turns from a stable presence based on the pure principles of design into forms resulting from the capture of a moment, which their display requires concentration, speed and a special attitude of the painter. In this definition, the sense of the subject is more real than its solid shell, and in this way, the constructionist of nature is discarded and the solid structure of the form transformed in the rapid effects of light and colour. The difference that Monet creates in the history of painting is that this time he gives priority to the background environment. By changing the frame of attention from the main subject of the painting to the surrounding environment, Monet transforms the interaction between nature and the environment. Also, by using visual methods, he looks at a place in the image space that has been considered an unimportant background until now. In this regard, the paintings of Monet's collection realize the visualization of the invisible conditions of visible elements. This collection shows the constantly changing level of the interaction of elements and the surrounding environment, and more than the subject, it tries to capture an invisible position. Monet solves this issue in his painting by recording momentary perceptions, immediacy in execution, focusing on transitory and accidental states, and constructing the structure of objects and analyzing shapes in favour of representing the transformations of light. The broken colour technique, by ignoring the consistent linear format of the shapes, turns the canvas in to a field of continuous colour vibration and colour effects. Therefore, Monet's painting is the field of showing the simultaneous possibilities of visible and invisible, continuity and discontinuity. The elements of nature appear in Monet's painting through an invisible frame, and then, drowning in the distant dimension, they always stay back and remain invisible. Monet captures the visual effect of light without paying attention to the subject and presents relationships in the painting that until then had an unclear and dumb understanding. By introducing a new kind of perception and vision, Monet shows that; Rather than describing nature, the painter is trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature turns nature from an independent and static presence to the individual experience of the artist and his emphasis on his way of seeing and perceiving the moment and the transitory and dynamic conditions of light and atmosphere. This nature is the nature that the painter's eyes see. A method arising from the transformation of the painter's way of seeing, which leads to the transformation of the objective reality and negation of the validity of the subject. Therefore, Monet's paintings show the process of transformation of his look. So that the painting canvas is the field of emergence of the painter's perception in the face of the universe. . | ||
کلیدواژهها [English] | ||
Keywords: Seeing Nature, Artwork Creation Process, Present Moment, Painting, Claude Monet, Impressionism | ||
مراجع | ||
منابع
ابوالقاسمی، محمدرضا (1395). زیباشناسی «نمود» و ظهور امپرسیونیسم، هنرهای زیبا، 21 (4)، 5-12.
آرناسن، یورواردور هاروارد (1388). تاریخ هنر نوین، ترجمه محمد تقی فرامرزی، تهران: موسسه انتشارات نگاه.
بکولا، ساندرو (1387). هنر مدرنیسم، ترجمه هلیا دارابی و رویین پاکباز، تهران: فرهنگ معاصر.
بلوندن، گودفری وماریا (1372). تاریخچه امپرسیونیسم، ترجمه قاسم رویین. تهران: بهار.
پاکباز، روئین (1378). دایرهالمعارف هنر، تهران: فرهنگ معاصر.
پاکباز، روئین (1395). دایرهالمعارف هنر، جلد اول، تهران: فرهنگ معاصر.
پاکباز، روئین (1398). در جستجوی زبان نو: تحلیلی از سیر تحول هنر نقاشی در عصر جدید، چاپ هشتم، تهران: نگاه.
حسینی راد، عبدالمجید (1378). نور، سرعت، رنگ- نگاهی به امپرسیونیسم، هنرهای زیبا، 6، 4-9.
گاردنر، هلن (1365). هنر در گذر زمان، ترجمه محمد تقی فرامرزی، تهران: نگاه.
لینتن، نوربرت (1382). هنر مدرن، ترجمه علی رامین، تهران: نی.
میربو، اوکتاو (1889). دیباچه کاتالوگ نمایشگاه آثار مونه در گالری ژرژپتی، پاریس.
References
Abolghassemi, M. (2016). “The Aesthetics of “Appearance” and the Emergence of Impressionism”. Journal of Fine Arts: Visual Arts, 21(4), 5-12. doi: 10.22059/jfava.2016.59946 (Text in Persian).
Arnason, H. H. (2009). History of Modern Art: Painting, Sculpture, Architecture, Translated by Mohammad Thaghi Faraarzi, (1nd ed.), Tehran: Negah, (Text in Persian).
Blunden, M. (1976). Impressionists and Impressionism, Translated by Ghasem Rubin, Tehran: Bahar, (Text in Persian).
Bocola, S. (2008). The Art of Modernism. Tranlated by Royeen Pakbaz, Tehran: Farhang-e-Moaser (Text in Persian).
Cunningham, Antonia. (2000). Essential Impressionists, UK: Parragon Press.
Cutting, J. E. (2006). Impressionism and It Canon. USA: University Press of America.
Dombrowski, A. (2020). “Impressionism and the standardization of time: Claude Monet at Gare Saint-Lazare”. The Art Bulletin, 102 (2), 91-120.
Dominiczak, M. H. (2011). “International Year of Chemistry 2011: The Impressionists: Painting at the Time of Change”. Clinical Chemistry, 57 (3), 534-536.
Gardner, H. (1986). Art Throuth the Ages, Translated by Mohammad Thaghi Faraarzi, (14nd ed), Tehran: Ney, (Text in Persian).
Gaunt, W. (1971). Turner, New York: Phaidon Press.
Hosseini Rad, A. (1999). “Light, speed, color-a look at impressionism”. Honar-Ha-Ye-, 6(0). 4-9. (Text in Persian).
Matz, J. (2017). Lasting Impressions: The Legacies of Impressionism in Contemporary Culture. New York: Columbia University Press.
Mirbeau, O. (1889), Catalog of the Exhibition of Monet's Works at the Georgette Gallery, Paris (Text in Persian).
Robinson, W. H., Robinson, W. H., Channing, L., Bradley, B. J., & Burgess, M. (2007). Monet to Dalí: Impressionist and Modern Masterworks from the Cleveland Museum of Art: An Exhibition. Manchester: Hudson Hills.
Seitz, W. C.; Monet, C. (1960). Seasons and Moments [cat. expo. New York], Seasons and Moments. The Landscapes of Claude Monet, New York, The Museum of Modern Art, Retrived at < https://www.moma.org/documents/moma_catalogue_2842_300190237.pdf>
Werner, J. S. (2011). “Aging through the eyes of Monet”. In G. K. Backhaus Werner, Kliegl Reinhold and John S. Werner (Eds.), Color Vision: Perspectives from Different Disciplines (pp. 3-42). Berlin-New York: De Gruyter.
Winchell, K. (2014). From instantaneities to the eternal: Shifting pictorial temporalities in Monet's “Rouen Cathedral”, Art History, Department of Art & Art History, Wayne State University.
Pakbaz, R. (2009). Encyclopedia of Art, (8nd ed), Tehran: Farhang-e-Moaser, (Text in Persian).
Pakbaz, R. (2016). Encyclopedia of Art, (1nd ed), Tehran: Farhang-e-Moaser, (Text in Persian).
Pakbaz, R. (2019). Looking for a New Language, (1nd ed), Tehran: Negah publication, (Text in Persian).
| ||
آمار تعداد مشاهده مقاله: 192 تعداد دریافت فایل اصل مقاله: 123 |