Roger Fry's classic study of the art and life of Paul Cézanne, originally published in 1927, has been acclaimed as a paradigm critical work for its clarity, perception, and originality. Himself an artist, Fry rejected prevailing modes of criticism, believing that form, not subject matter, should be the primary expressive element. Cézanne's work came closest to Fry's ideal—it gave formal expression to all of nature.
This study established Fry as a critical "father," the first of his line to explicate the ideas of "vision and design" in an attempt to understand modern art. His critical analysis has in many respects never been surpassed. Fry endeavored both to show the essential development of the painter's style and to approach individual works directly; he wrote that he would detect "the profound difference between Cézanne's message and what we have made of it." The result is a book, couched in Fry's most lucid, penetrating language, which is of great technical value to the painter and student and which offers the layman an illuminating demonstration of the remarkable force of Cézanne's art.
Roger Eliot Fry (14 December 1866 – 9 September 1934) was an English artist and art critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. He was the first figure to raise public awareness of modern art in Britain, and emphasized the formal properties of paintings over the "associated ideas" conjured in the viewer by their depicted content. He was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin... In so far as taste can be changed by one man, it was changed by Roger Fry".[1]
张雷:读《塞尚及其画风的发展》 壹 坚硬 在塞尚身上,有着强烈的格列柯的影子。不妨首先引用弗莱对格列柯的感受:“(格列柯的画面)一方面是戏剧性,……另一方面则是形式的清晰、平衡。”(《视觉与设计》,131页)戏剧性为画面呈现了一种非常有张力的样态,而形式的清晰和...
评分这本书以一种专业美学的角度,评论了塞尚的绘画风格的发展历程。它突破了传统意义上的纯美术视角,是初涉美学的入门者的良好途径。 在此,我这个门外汉姑且提一些非常粗浅的问题: 1、塞尚总是用一种块状手法来表现他笔下的物体,即使是柔和的花朵,在块状手法下,也似乎...
评分沈语冰 作为一个艺术理论家,弗莱的开放性不在其理论,而在其批评实践中,表现得最为引人注目。Christopher Green, Art Made Modern: Roger Fry’s Vision of Art, London: Courtauld Institute of Art, 1999, p.29. 许多学者同意弗莱在考虑个别艺术家的作品,而不是在从...
评分这本书以一种专业美学的角度,评论了塞尚的绘画风格的发展历程。它突破了传统意义上的纯美术视角,是初涉美学的入门者的良好途径。 在此,我这个门外汉姑且提一些非常粗浅的问题: 1、塞尚总是用一种块状手法来表现他笔下的物体,即使是柔和的花朵,在块状手法下,也似乎...