| 罗杰·弗莱被以为是情势主义实际的开创人之一,尽人皆知,是他定下了“后印象派”这一称呼。在我们隐约的印象中,他是个前卫、保守的人,但是他曾运用“古典精力”一词来归纳综合法国古代画家的特质。这一辞汇的运用旨在将古代艺术推向",消除他们对古代艺术的生疏感,同时弗莱也确切在塞尚等画家的著作中找到了古典主义年夜师的创作理念以知性来掌握天然表象,在画面中建构情势次序。罗杰·弗莱对法国古代画家著作中情势的有序性极其赞美,以为他们对印象派的对抗意义严重,预示着一个新的艺术时期的到来。 Abstract: Roger Fry is thought to is the situation of realism, one of the founders of, well-known, is he "Impressionist" this call. In our vague impression, he is an avant-garde, conservative, but he has used "classical energy" to summarize the characteristics of the ancient painters in france. The vocabulary of the application to ancient art towards, to eliminate the sense of their strange of ancient art, and Frye is exact in the works of painters such as Cezanne found the classicism of the eve of the division of creative ideas with understanding to master the natural appearance, in the picture construction situation in order. Roger Fry ordered to form France in the works of ancient painters very praise, thought they were against the great significance of Impressionism, heralded a new era of art. 目录: 摘要 4-5 Abstract 5 引言 6-11 第一章 罗杰·弗莱提出“古典精神”的语境 11-17 1.1 第一次后印象派展览 11-12 1.2 与“有教养阶层”的决裂 12-14 1.3 “布鲁姆斯伯里” 14-17 第二章 “古典精神”的内涵 17-24 2.1 “古典精神”与想象生活 18-19 2.2 形式秩序的知性把握 19-24 第三章 法国现代画家的“古典精神” 24-37 3.1 塞尚 25-28 3.2 马蒂斯 28-31 3.3 毕加索 31-34 3.4 修拉 34-37 第四章 罗杰·弗莱提出“古典精神”的现实意义 37-40 4.1 艺术批评家的责任 37-38 4.2 对印象派的批判 38-40 第五章 结论 40-41 附录 参考书目 41-44 |
