An exploration for the implications of French “Era, Female, Beauty” paintings in the 19th century

• Main Authors: Charng, Fu-Shiew, 常扶秀
• Other Authors: Sheu, Kuen-Cherng
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/63578119961895462662

碩士 === 中國文化大學 === 美術學系 === 102 === In 1863, French painting circle disclosed the wave of subversion by establishing Salon des Refuses to oppose Salon de Paris on the basis of innovation and reformation, fermenting Independent exhibitions organized by a group of young painters under the name of “Société Anonyem DES Peintres Sculpteurs Graveurs” to display their artistic works in 1874. The first group exhibition from painters in this painting school lifted the revolutionary curtain, allowing impressionism to break out of the historical framework and reintegrate tradition with modernity, and settling inheritance of opportunities for the 20th century. Impressionism in the last thirty years of the 19th century had become the mainstream of painting art to cause diversities of urban life and features of modernization with the addition of rising Bourgeois, and largely presented in impressionism paintings. In the mid-19 century, the image of feminine beauty in France had great change to produce new characteristics in either contents or forms. What is the reason? What did these new feminine images influence on the society? In order to deeply explore social and humanity environment factors for the aforesaid feminine paintings, the writer specially collected various data relating to feminine paintings and conducted literature analysis and induction to investigate based on the viewpoint of interactive influence between social environment and cultural humanity environment. This is the purpose and scope for the writer to write this thesis.