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英国美术理论家哈德罗·奥斯本在《20世 纪艺术中的抽象和技巧》中说:“从三十年代 起,威廉·德库宁变化无常地沉醉于多义模棱 两可和引喻。正如多尔阿斯顿在《纽约画派的 生活和时代》中所说:‘德库宁从其早年起就 使他的视觉器官适合于意外的形式分离的洞察 力,以及在外表之下流动的不变的感觉。’也 许德库宁的观点比纽约画派任何别的成员都更 加反映了存在主义者的忧虑,反映了对自满、 舒适和一致的抛弃。这在四十年代的先锋派是 极其重要的。”这里所说的分离的偶然的 形式及作品中反应出的多义和模棱两可的引喻 反映了个人存在的目的和意义的不确定性、飘 浮性。以及在拒绝传统艺术的整体原则之后所 呈现出的人与自然、人与人之间的冲突。人们 已对昔日昌盛的古典艺术及其所反映的人生理
In the “Abstraction and Techniques of Art in the Twentieth Century”, British art theorist Haddoul Osborne said: “From the 1930s onwards, William de Kooning has been capriciously ambivalent about ambiguity and ambiguity In A New York School Life and Times, Doll Aston said: ’From his early years, Takunin adapted his visual organs to the insight of accidental formal separation and to the flow of Unchanging feeling. ”Perhaps Dekkunine’s opinion is more a reflection of existential concerns than any other member of the New York School, reflecting a sense of complacency, comfort, and unanimity, a pioneer in the 1940s Extremely important. "The isolated, accidental forms and the polygamy and equivocal metaphors that emerge from the work, as described here, reflect the uncertainty and buoyancy of the purpose and meaning of the individual being. As well as the conflict between man and nature and between people after rejecting the overall principle of traditional art. People have a longing for the classical arts and the people they reflect the physical