The Feminine Quality of Marie Laurencin‘s Paintings

碩士 === 中國文化大學 === 美術學系 === 105 === Marie Laurencin was one of the rare examples of professional female painter in early 1920s, while male painters were still the majority of the field of painting art. Although Laurencin had experienced the First and the Second World War, the pain of warfare did not...

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Main Authors: Lin, Hui-Chan, 林慧虔
Other Authors: Sheu, Kuen-Cherng
Format: Others
Language:zh-TW
Published: 2017
Online Access:http://ndltd.ncl.edu.tw/handle/39058641745293183496
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spelling ndltd-TW-105PCCU02330072017-03-12T04:13:25Z http://ndltd.ncl.edu.tw/handle/39058641745293183496 The Feminine Quality of Marie Laurencin‘s Paintings 瑪麗‧羅蘭珊的女性繪畫特質 Lin, Hui-Chan 林慧虔 碩士 中國文化大學 美術學系 105 Marie Laurencin was one of the rare examples of professional female painter in early 1920s, while male painters were still the majority of the field of painting art. Although Laurencin had experienced the First and the Second World War, the pain of warfare did not diminish her passion on painting; instead, she devoted to painting even more because of her experience. She attempted to search for her self-concept through painting; she released that depressive power inside of her through painting as well. This article attempts to analyze and study the Laurencin’s unique, tender and sentimental feminist aesthetics systematically through the following perspectives: Laurencin’s career of painting, her mindset of painting, her painting style and the decorative aesthetics. This article also analyzes the history of rising of western female artists, and tries to elaborate Laurencin’s contribution and impact in it. This article suggests that Laurencin was the first female painter who get rid of the masculine majority and the constraints of tradition, and eventually developed the feminist art and presented the feminist free spirit in her paintings. She made her stand by her exclusive feminist painting features and decorative aesthetics. Not only had she leaded the free spirit of painting creation of female painters, but also became the milestone of female painters’ rising. Lastly, the author of this article attempts to employ her understanding of Laurencin, especially Laurencin’s feminist painting style, into his/her personal creations. He/She also combines the understanding of feeling in life aesthetics and the observation of living environment with his/her creations. After the digestion and transformation of these experience, he/she presents his/her unique aesthetics through these beautiful and sentimental self-portrait paintings. Sheu, Kuen-Cherng 許坤成 2017 學位論文 ; thesis 78 zh-TW
collection NDLTD
language zh-TW
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sources NDLTD
description 碩士 === 中國文化大學 === 美術學系 === 105 === Marie Laurencin was one of the rare examples of professional female painter in early 1920s, while male painters were still the majority of the field of painting art. Although Laurencin had experienced the First and the Second World War, the pain of warfare did not diminish her passion on painting; instead, she devoted to painting even more because of her experience. She attempted to search for her self-concept through painting; she released that depressive power inside of her through painting as well. This article attempts to analyze and study the Laurencin’s unique, tender and sentimental feminist aesthetics systematically through the following perspectives: Laurencin’s career of painting, her mindset of painting, her painting style and the decorative aesthetics. This article also analyzes the history of rising of western female artists, and tries to elaborate Laurencin’s contribution and impact in it. This article suggests that Laurencin was the first female painter who get rid of the masculine majority and the constraints of tradition, and eventually developed the feminist art and presented the feminist free spirit in her paintings. She made her stand by her exclusive feminist painting features and decorative aesthetics. Not only had she leaded the free spirit of painting creation of female painters, but also became the milestone of female painters’ rising. Lastly, the author of this article attempts to employ her understanding of Laurencin, especially Laurencin’s feminist painting style, into his/her personal creations. He/She also combines the understanding of feeling in life aesthetics and the observation of living environment with his/her creations. After the digestion and transformation of these experience, he/she presents his/her unique aesthetics through these beautiful and sentimental self-portrait paintings.
author2 Sheu, Kuen-Cherng
author_facet Sheu, Kuen-Cherng
Lin, Hui-Chan
林慧虔
author Lin, Hui-Chan
林慧虔
spellingShingle Lin, Hui-Chan
林慧虔
The Feminine Quality of Marie Laurencin‘s Paintings
author_sort Lin, Hui-Chan
title The Feminine Quality of Marie Laurencin‘s Paintings
title_short The Feminine Quality of Marie Laurencin‘s Paintings
title_full The Feminine Quality of Marie Laurencin‘s Paintings
title_fullStr The Feminine Quality of Marie Laurencin‘s Paintings
title_full_unstemmed The Feminine Quality of Marie Laurencin‘s Paintings
title_sort feminine quality of marie laurencin‘s paintings
publishDate 2017
url http://ndltd.ncl.edu.tw/handle/39058641745293183496
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