摘要

西方美术史上，从文艺复兴开始，光开始由客观存在，转变为艺术家创作时一种营造画面氛围，表达自我，传达情感与思想的绘画语言，光线成为艺术家们突破和创新的一个切入点，并随着科学技术的发展和社会政治的变化，影响着西方艺术风格的演变。文艺复兴前期首先打破前人均匀布光的方法的马萨乔，他的画面光线集中，通过增强明暗对比营造画面的三维空间感。中期科学布光的达芬奇，借用特殊光线描绘出雕塑感。还有十七世纪“戏剧性”的卡拉瓦乔，“黑暗”的伦勃朗，浪漫而又真实的维米尔，以及少不了烛光的拉图尔。到了十九世纪，画家们画面上的光及色彩更是有了“叛逆性”的变化，首先，尝试探索外光的巴比松画派出现于艺术画坛，紧接着马奈和莫奈为代表的印象派艺术家们一反之前的棕色调，使画面的颜色丰富多彩，将光线在画面中的作用也提升到了史无前例的地位。本文主要通过分析马萨乔到莫奈之前大师们艺术作品，寻找光线的变化，领悟光线在画面中的重要作用。

关键词：西方画派；光线布局；画面风格；文艺复兴；印象画派

From Masaccio to Monet ----- Analysis of the changing layout of light in the picture

Abstract

In the history of Western art, from the Renaissance onwards, light began to change from an objective presence to a pictorial language used by artists to create an atmosphere, express themselves and convey emotions and ideas. Masaccio, who was the first to break away from the uniform lighting of his predecessors in the pre-Renaissance period, concentrated the light in his pictures and created a sense of three-dimensional space by enhancing the contrast between light and dark. Leonardo da Vinci of the mid-century, who used special light to create a sense of sculpture. There is also the 17th century "dramatic" Caravaggio, the "dark" Rembrandt, the romantic yet realistic Vermeer, and the indispensable candlelight Latour. In the nineteenth century, the light and color of the painters' pictures had a "rebellious" change, and the Impressionists, first of all, the Barbizon school, which tried to explore external light, appeared in the art painting world and then represented by Manet and Monet, reversed the brown tones of the previous pictures and made the picture colorful, elevating the role of light in the picture to an unprecedented position.This article focuses on analysing the artworks of the masters before Masaccio and Monet, looking for changes in light and appreciating the important role of light in the picture.

Key Words: Western painting；light layout；picture style；Renaissance；Impressionism

目 录

摘要-----------------------------------------------------------------------------------------------1

目录----------------------------------------------------------------------------------------------Ⅱ

一、绪论 ----------------------------------------------------------------------------------------1

（一）研究目的---------------------------------------------------------------------------------1

（二）研究意义---------------------------------------------------------------------------------1

（三）研究背景---------------------------------------------------------------------------------2

二、文艺复兴时期油画光线的探索---------------------------------------------------------3

（一）14-16世纪时期的背景概况----------------------------------------------------------3

（二）马萨乔对油画光线的探索------------------------------------------------------------3

（三）达芬奇对光影理论的阐释------------------------------------------------------------4

三、十七世纪油画光影的主观营造----------------------------------------------------------6

（一）反封建思想下画面光线的研究------------------------------------------------------6

（二）卡拉瓦乔戏剧性的光线氛围---------------------------------------------------------6

（三）维米尔营造的柔和光影氛围---------------------------------------------------------7

（四）伦勃朗利用黑暗来表现光明---------------------------------------------------------7

四、巴比松与印象派外光派的开拓----------------------------------------------------------9

（一）现代科技背景下光影理论的启发---------------------------------------------------9

（二）巴比松画派对真实光线的摸索------------------------------------------------------9

（三）印象派画家对户外光线的追求-----------------------------------------------------10

参考文献----------------------------------------------------------------------------------------13