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著名理论“艺术必须宣传政治”是新古典艺术时期的口号,也使得新古典主义成为革命的工具。其所追求的古典主义,源于旧古典主义。新古典主义把样式看成一种技巧,把理想美、唯美主义作为一种可视形态的评价标准,而非本质①。这与此时法国大革命有关,其社会背景影响了艺术家的心灵。本文以标题形式,通过对比、图像的论证方法进行专题研究。把新古典主义作为古典主义的续曲进行对比、类比;用大卫特优秀的作品来证明其“艺术必须宣传政治”的思想的革命性和进步性,并把他的缺漏之处与其革命性作比较来证明大卫特的艺术并非完美的,他欠缺的是对艺术真诚性的执着追求,他的一生有三大转折,完全对立的转折,成在于此,败也在于此。
The well-known theory that “art must promote politics” is the slogan of the neoclassical period and also makes neoclassical a tool of revolution. The pursuit of classicism, from the old classicism. Neoclassical style as a kind of skill, the ideal of beauty, aestheticism as a visual form of the evaluation criteria, rather than the essence ①. This was related to the French Revolution at this time, and its social background affected the artist’s mind. In this paper, the title of the form, through contrast, image demonstration method for thematic studies. Contrasting and analogizing neoclassicalism as a sequel to the classicism; using the excellent works of David to prove the revolutionary and progressive nature of his “art must promote politics” and comparing his absence with his Revolutionary comparison to prove that David’s art is not perfect, what he lacks is the pursuit of artistic sincerity, his life there are three major turning points, complete opposition to the turning point, as lies here, the defeat is also here.