光的詮釋—泰納與德洛涅晚期作品比較

「光的詮釋」在繪畫領域中一直是值得研究的課題，歷代畫家亦均以自己獨特的手法來詮釋光線，而在眾多畫家中，筆者認為十九世紀英國的泰納與二十世紀法國的德洛涅不僅手法獨到，且兩人晚期的作品竟有明顯的相似性。例如：泰納1840年代之後的創作出現正方形或圓形畫面，也更著迷於自然光源的直接描繪，同時畫風更加豪放粗獷而漸趨抽象；德洛涅自1912年以後的作品不僅也數度採用正方形或圓形畫面，更針對太陽與月亮進行光與色彩的研究，且逐漸走向抽象風格。然而，即使兩人作品的相似特質顯而易見，但透過比較又發現存在著本質上的不同。因此，本文列舉兩人的作品分別從四個面向，包含：對色彩理論的研究與實驗、對正方形或圓形畫幅的偏好、對自然光源--太陽與月亮的直接觀察與描繪、畫面由具象表現逐漸傾向抽象特質，進行分析探究與比較，也藉由兩人晚期作品的異同，更深入了解泰納與德洛涅的創作特色。

關鍵字

光與色；抽象性；泰納；德洛涅

並列摘要

＂Interpretation of light＂ has always been a subject that warrants further study in the field of painting. Painters throughout history have rendered light in their own unique ways. Among all painters, the author considers the 19th century English painter J.M. William Turner (1775-1851) and the 20th century French painter Robert Delaunay (1885-1941), who both have unparalleled techniques in interpreting light. Moreover, their late works have clear similarities. For instance, geometric shapes such as squares and circles started appearing in Turner's works in the 1840s. He became even more obsessed with drawing and capturing natural light and at the same time, his style became bold and rough, bordering on abstract. After 1912, Delaunay not only used geometric squares and circles in his paintings, he also studied the light and colors of the Sun and Moon, and gradually moved towards abstraction. Even though the similarities of their works are obvious, by comparing them one can also find fundamental differences. Therefore, this paper will compare and analyze both artists' works based on four aspects, including: studies and experimentation on color theory, preference for circular or square frames, depiction of natural lights-the Sun and Moon, and painting style gradually shifting from figurative to abstract. From the similarities and differences of Turner and Delaunay's late works, one gains an in-depth understanding of their paintings.