Study On The Form And Logic Of Western Printmaking In The Early 20th Century

This paper mainly focuses on Western printmaking in the early 20th century.By combing the morphological evolution of Western image printing and reproduction under this specific historical situation,this paper analyzes the printmaking creation logic behind it,and deduces the new concept direction and core value formed by printmaking creation under this cut-off point.At the same time,it is also expected to use this as a reference to seek the answer to what contemporary printmaking is.The article is divided into four parts: the introduction of problems,the combing of phenomena,the analysis of causes and the introduction of views.Firstly,through the introduction,the author puts forward the problem of "how printmaking becomes art" and delimits the scope of discussion,Then,in the first four chapters of the article,by successively introducing the various separations between the Western printmaking in the form of the early 20th century and the previous western printmaking,as well as the analysis of several artists and work cases,this paper specifically interprets the characteristics and commonalities in the evolution of the image form of the Western printmaking in the early 20th century.In the case selection,the author successively selects several printmakers with the identity of artist,printmaker and designer as the analysis object,and gradually carries out the historical combing and phenomenon analysis from their printmaking practice under the specific historical background.Through the individual interpretation in different contexts,this paper combs out the differences between Western printmaking in the early 20th century and Western printmaking before,so as to extract the universality of the evolution of Western printmaking image form in this specific period.In the fifth to seventh chapters of the article,the author analyzes the reasons for the above morphological changes of Western printmaking at that time,that is,summarizes various creative logics shaping these Western printmaking,This leads to the discussion of the core value of Western printmaking creation in the early 20th century in Chapter 8.In the last chapter,Chapter 8,the author mainly summarizes the relevance of the form and logic of Western printmaking in the early 20th century,summarizes its new core values from the two aspects of artistic aesthetics and technical cognition,and explains why this logic is attributed to the new opening of creativity,And how this creative opening came into being.On the basis of summarizing the form and logic of Western printmaking in the early 20th century as a new opening of creativity,the author also conceives a way to associate this creative logic with contemporary printmaking practice in the conclusion,which responds to the problems mentioned in the introduction and provides an idea for the era proposition of "what is contemporary printmaking" to some extent.The four parts of the article can be simply summarized as the discussion on the two problems of "what is" and "why" of Western printmaking in the early 20th century from the analysis of the phenomenon,the analysis of the reasons behind it,the summary of the influence caused by the reasons and the refining of the significance of the whole phenomenon.On this basis,the author summarizes and improves the discussion of these two aspects in the conclusion,and gives his own views on how to obtain enlightenment from contemporary printmaking practice,in order to provide some phased contributions to the research of this topic.