“無限的永恒”——析a亞當斯攝影藝術觀念與實踐

1、 碩 士 學 位 論 文 論文題目 “無限的永恒”——析 A·亞當斯攝影藝術觀念與實踐 作者姓名 張曉瑛 指導教師 靳慶金 學科專業(yè) 藝術學 所在學院 美術學院 提交日期 2009 年 6 月 杭州師范大學碩士學位論文

2、 “無限的永恒”——析 A·亞當斯攝影藝術觀念與實踐 II Abstract Abstract Ansel Adams(1902-1984) was one of the most prominent scenic photographers and photography educators. In over sixty years’ working life, he not only took a great n

3、umber of world famous photos, but also made great achievements in the technique, theories and education of photography, which was a great treasure for other photographers. The study about Ansel Adams is far from being en

4、ough, and most researches are only brief introductions to his achievements and photographic skills. When analyzing any masterpiece, no one should and can ignore the artist’s aesthetic taste and his artistic ideas. If the

5、 artistic works have sketched Adams’ whole artistic life, maybe we as well ought to realize that all the glowing works are only part of what the master had pursuit. No analysis focusing on small part can enable us to ful

6、ly appreciate the legacy of predecessors. The most important contribution of this research lies in this paper tries to understand Adams’ artistic pursuit from his work, and to reflect upon his work through the comprehens

7、ive analysis of his artistic pursuit. According to Adams’ life and experiences and through the categorizing related documents, his artistic life is divided into three phases: the early stage (1916-1930), the middle stage

8、 (1931-1951) and the later period (1952-1982). This paper has done a thorough analysis of Adam’s artistic style of photography and explored the gradual maturation of his aesthetic thought. Adams has left a great number o

9、f masterpieces, which still overwhelms many viewers with their majesty, bleakness and beauty. How to understand and through which to enrich and improve today’s photography concerns the carrying on and developing of his h

10、eritage as well as all other historical artistic heritage. The reason Adams made such magnificent achievements lies not only in his obsession with and his discovery in photography, but also in that he carried on and deve

11、loped historical heritage. Adams had gone beyond the domain of photography either in thought or in the artistic styles he pursuit. He absorbed artistic nutrition from other arts and integrated it into photography, and th

12、us completed his transformation from a common photographer to a master. At the end of the article, this paper explores the relationship between Adams’ works and other arts and artists, and thus sketches a more complete p