| 中文摘要 |
文藝復興的女性側面像以典雅氣質為訴求，受到四分之三正面像而沒落的側面像，直到十九世紀東西藝術交流後，結合日本藝術浮世繪的線條、用色與構圖表現，輔助歐洲擺脫傳統藝術的限制；這種結合歐洲傳統與浮世繪造形表現，讓側面像的畫面表現更加多元。取材於自然中的昆蟲、花、草等植物與宇宙元素的火、水及日月星辰，這些裝飾元素搭配幾何線條，捨棄用色明暗法和遠近透視法，造就出另一種平面性；在色塊與線條的組合下，除了景深的綿延外，人物成為圖案一部份的統合表現為空間感另闢一種新的表現方式；明確的線條型態，在粗細長短的曲線變化下，讓畫面的細節更為繁複，與色塊的搭配又能融合，呈現一種複雜而非雜亂的視覺圖像。透過風格分析將盧西恩．雷維．杜莫（Lucien Levy Dhurmer, 1865-1953）、喬治斯．德．弗雷（Georges de Feure, 1868-1943）和埃德加德瓦．馬克桑斯（Edgard Maxence, 1865-1953）這三位國人較為陌生的十九世紀法國藝術家作品，從構圖探討女性肖像畫中的側面像裝飾意涵，從平面性、空間感與複雜性三方面分析畫家結合繪畫風格與裝飾元素，造就各種新藝術女性側面像作品。 |
| 英文摘要 |
Profile of women in the Renaissance elegance and appeal by three-quarters of the decline of the profile as the front, until the nineteenth century, after the exchange of Eastern and Western art, Japanese art of Ukiyo-e with the line, use of color and composition performance, supporting the European away from the traditional limits of art; this shape with the performance of traditional European and Ukiyo-e, so that profile picture of the performance of more diversified. Draw materials natural insect, plant and fire, ink and the sun and the moon and the stars of the universe, these ornamental elements match the geometric lines, give up the light and shade law and Perspect the law, produce a kind of new level. Combine color lump and lines, there is result of depth of field, there are interconnected systems that behave jointly, that is to say personages become the space sense result of a part of a pattern. The lines change lets the detail of the picture be more abundant, merge color to match, a kind of visual picture complicated but not disorderly appears. Analyze Lucien Levy Dhurmer (1865-1953) , Georges de Feure (1868-1943) , and Edgard Maxence ( 1865-1953) by style. These three French artists in strange the 19th century, probe into the ornamental meaning of the works of the composition, analyze from level, space science and three respects of complexity a painter combines the painting style and ornamental element, draw in various Art Nouveau women the profile chart works. |
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