论文部分内容阅读
冈布里希在《艺术发展史》的后记中说,对于1890年的艺术史家和批评家来说,“即使有天底下最大的热情,他也不可能知道当时正在创造历史的三位人物是凡·高、塞尚和高更,……与其说问题在于我们的批评家能不能欣赏那三个人的作品,倒不如说问题在于他能不能知道有那么三个人。”今天,当我们要描述20世纪70前后出生的中国艺术家的艺术时,我们也许会碰到冈布里希所说的那种情况,即由于我们根本就不知道有几位将影响21世纪中国艺术的艺术家在哪里,而使我们在此谈论的问题变得空洞、无聊和毫无意义。特别是当艺术史被视为是艺术大师、天才和英雄创造的历史时,那就更是如此。当然,这并不意味着我们在此问题上将完全无所作为,至少我们可以对已知的70前后出生的艺术家的艺术特点给予描
In a postscript to “The History of Art,” Gambliss said that for the 1890 art historians and critics, “it is impossible for him to know that the three persons who were making history at that time, even with the greatest passion under heaven, were Van Gogh, Cezanne and Gauguin ... ... The problem is more so than our critics can appreciate the works of the three men, so much so that the question is whether he can know three people. ”Today, when we are going to describe When we look at the art of a Chinese artist born before or after the 1970s, we may come across the same kind of situation that Gambridge said because we do not know at that time exactly where there are artists who will influence Chinese art in the 21st century Make the issues we are talking about empty, boring, and pointless. This is especially true when art history is considered a history created by masters of arts, geniuses, and heroes. This does not mean, of course, that we will do nothing at all on this issue, at least we can give a description of the artistic characteristics of known artists born before and after