Modernism 在线电子书 图书标签: 历史 艺术 modernism Gay_Peter 文化 PeterGay 历史种种 非小说类
发表于2024-12-31
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五年多前读过的书,大师别去。
评分五年多前读过的书,大师别去。
评分五年多前读过的书,大师别去。
评分工作需要……
评分五年多前读过的书,大师别去。
A veteran cultural historian weighs in with an encyclopedic account of the fecund 120 years that engendered artists as varied and brilliant as Frank Lloyd Wright, T. S. Eliot and Marcel Proust.Like a playwright or director, Gay (Schnitzler's Century: The Making of Middle-Class Culture, 1815 - 1914, 2001, etc.) sets the scene and describes the principal players, then brings them onstage, watches them perform and gives them notes afterward. His range and erudition are bewildering - is there a modernist novel, poem or play he has not read? A painting, sculpture, film or building he has not seen? He deals with many players in perfunctory fashion, but to numerous others - the notables - he devotes a few pages each (there is room for no more tonnage in this tome). He begins with the "founders" of the movement - Baudelaire, Monet and Oscar Wilde among them - and moves on to the painters and sculptors, featuring van Gogh, Munch, Beckmann and Picasso. Then it's off to the writers, with special attention to Joyce and Woolf. In this section, he occasionally loses control of his usually restrained prose. "Like a seasoned animal tamer," he writes, "Woolf cracked her whip on her prose and made the most feral brute cringe at her orders." Proust and Kafka also merit much attention before the music begins and the dancers leap onto the stage. Mahler, Schoenberg, Stravinsky and Balanchine compose and cavort before it's time for the architects - Wright, Le Corbusier, the Bauhausers and others. The theater and the cinema follow, and Gay enshrines Eisenstein, Chaplin and Welles in his Modernist museum. A final ominous chapter assesses the effects of 20th-century totalitarian governments on the Modernists. He concludes with the rather patent commonplace that "the principal effect of fascism on the arts, then, was negative."An educational summary and analysis of a most miraculous cultural era. (Kirkus Reviews)
二十世纪的西方艺术历史是一个暴风雨般反叛、改变、价值重估和更新的叙事史。对于我们这些生活在这段历史后半段的人来说,很难察觉这个故事现在已经结束了——就是说,现代主义已经是过去的事了。尽管少数鼓吹者还存在,还很活跃,但是艺术追求的主流已经变了,只是给批评家和历史学家留下了叙述与清点这段历史的任务。
但是至今还没有人提供这样一个关于现代主义的综合性论叙。原因显然在于无人有能力对建筑师、舞蹈设计者、作曲家、电影制作者、小说家、画家和诗人的作品进行综合把握和评论。唯一的选择是省略现代主义观念,聚焦个别作品,这些作品的意义在于它们引起了所有门类的艺术和艺术家的改变。
绘画从写实主义库尔贝(Gustave Courbet,1819-1877)的《筛麦子的农妇》、《打石工人》、《库尔贝的画室》,到柯罗(Jean Baptiste Camille Corot,1796~1875)的风景画;先锋派与印象派开山之祖马奈(Édouard Manet,1832-1883)从写实的《吹短笛的男孩》,到惊世骇俗的...
评分标题是书中所引波德莱尔的一个句子。当我初次看到这个句子时,它如一把匕首从书页中跃出,剜了我的心。我想这可能就是现代主义带给俗人的一种震撼。 如本书书后所说的——我们都生活在现代主义之中,但什么是现代主义?依我从前的愚见,现代主义可能就是那些玄乎的画,亦或是那...
评分既有人问了我什么是艺术之后,我谦卑而满怀敬意地欣赏了杜尚的《泉》,一时感觉就像是来到了入冬的济南—在灰黄色的霾中既看不清又寸步难行…… 所谓《泉》其实就是一个陶瓷小便池,而且只是从商店买来,并冠以《泉》的名字而已。这个现成品向人们提出了这样的疑问:到底什么是...
评分绘画从写实主义库尔贝(Gustave Courbet,1819-1877)的《筛麦子的农妇》、《打石工人》、《库尔贝的画室》,到柯罗(Jean Baptiste Camille Corot,1796~1875)的风景画;先锋派与印象派开山之祖马奈(Édouard Manet,1832-1883)从写实的《吹短笛的男孩》,到惊世骇俗的...
评分绘画从写实主义库尔贝(Gustave Courbet,1819-1877)的《筛麦子的农妇》、《打石工人》、《库尔贝的画室》,到柯罗(Jean Baptiste Camille Corot,1796~1875)的风景画;先锋派与印象派开山之祖马奈(Édouard Manet,1832-1883)从写实的《吹短笛的男孩》,到惊世骇俗的...
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