Cezanne 在线电子书 图书标签:
发表于2025-04-01
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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]
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.
镜子与镜子: 《塞尚及其画风的发展》中译本体例述要 文/熙橓 塞尚被尊为现代艺术之父,论起现代艺术和现代绘画大概都绕不过他。他位尊已定,关于他的论述不胜其多,文献资料也浩如烟海,但谈论起来却又颇感困难。尤其是在中文世界里,经过多年的“艺术熏陶”,我们...
评分沈语冰 众所周知,尽管塞尚去世后(甚至在去世前)早已在法国最优秀的艺术家当中获得了不可动摇的地位,特别是经过马蒂斯、毕加索和布拉克的推崇,塞尚事实上已经确立起“20世纪现代艺术之父”的地位,但是,法国公众、政府与学院派艺术家却一直拒绝承认塞尚,这一点在印象...
评分 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”荣誉不属于批评者;也不属于那些指出强者如何跌倒,或行动者如何能够做得更好的人。荣誉属于那真正站在竞技场中的人,他的脸被灰尘、汗水、和血污覆盖;他勇敢地奋斗,犯错误,屡败屡战,因为免于错误和失败的努力是不可能的” ——西奥多•罗斯福 (据说是)罗斯福总统的...
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