本文選題：美國(guó) + 早期　； 參考：《北京大學(xué)》2017年博士論文

【摘要】：20世紀(jì)中期以來(lái),由于美國(guó)現(xiàn)代主義藝術(shù)在國(guó)際畫壇上的影響大增,使得紐約取代了巴黎,成為了現(xiàn)代藝術(shù)之都。然而,對(duì)于現(xiàn)代主義初期在美國(guó)的發(fā)展?fàn)顩r和作用卻仍是一個(gè)有待進(jìn)一步探究的問(wèn)題,因?yàn)檫@關(guān)系到美國(guó)最終選擇了現(xiàn)代主義作為自己文化身份的內(nèi)在邏輯,也是構(gòu)成美國(guó)現(xiàn)代主義敘述的關(guān)鍵環(huán)節(jié)。本文所選定的時(shí)間段為1910年至1929年,即大致從美國(guó)本土藝術(shù)家亞瑟·達(dá)夫等人創(chuàng)作出第一批具有現(xiàn)代意義上的純粹抽象作品至1930年代經(jīng)濟(jì)危機(jī)開(kāi)始,在經(jīng)濟(jì)狀況惡化的影響下,現(xiàn)代主義遇到了臨時(shí)性的中斷。在論述結(jié)構(gòu)上,本文將以美國(guó)本土藝術(shù)家,如英尼斯、霍默等人自身的藝術(shù)變革和訴求出發(fā),提出這些老一輩本土古典大師們對(duì)雛形期的現(xiàn)代藝術(shù),如“垃圾箱畫派”等審美流派的影響。進(jìn)而將發(fā)生在美國(guó)的第一次現(xiàn)代藝術(shù)大展——軍械庫(kù)畫展——放在其藝術(shù)史的上下文中加以討論,試圖客觀地分析這次重要展覽對(duì)美國(guó)藝術(shù)家產(chǎn)生的風(fēng)格影響以及這次展覽帶來(lái)的新的藝術(shù)觀念在美國(guó)藝術(shù)界引起的震動(dòng)。此外,本文將在美國(guó)現(xiàn)代藝術(shù)的探索期和建立期這兩個(gè)章節(jié)分別例舉最具代表性的兩個(gè)流派,即“色彩交響主義”和“精確主義”來(lái)呈現(xiàn)早期美國(guó)本土現(xiàn)代主義者們從追隨歐洲同行們的藝術(shù)實(shí)踐,到逐步建立體現(xiàn)美國(guó)現(xiàn)代精神的藝術(shù)面貌的過(guò)程。最后,作為這種探索的總結(jié),本文的重點(diǎn)將落在早期現(xiàn)代主義者們的藝術(shù)和思考對(duì)于后來(lái)的現(xiàn)代主義發(fā)展產(chǎn)生的潛移默化的影響上。除了提出了現(xiàn)代主義在美國(guó)發(fā)展的脈絡(luò)性之外,本文還將通過(guò)大量實(shí)例和畫面分析指出:美國(guó)早期的現(xiàn)代主義經(jīng)歷過(guò)一個(gè)迷茫期和創(chuàng)建期,其形式來(lái)自歐洲的現(xiàn)代藝術(shù),精神卻來(lái)自美國(guó)的現(xiàn)代體驗(yàn),因此是一種具有雙重身份的藝術(shù)。與歐洲的現(xiàn)代藝術(shù)中所帶有的叛逆、無(wú)政府主義、形而上的意味不同,美國(guó)的現(xiàn)代主義從一開(kāi)始就蘊(yùn)含了形成獨(dú)特面貌的可能性。它并非是一種全然反叛傳統(tǒng)的藝術(shù),而是一種強(qiáng)調(diào)延續(xù)傳統(tǒng)的創(chuàng)造;其抽象語(yǔ)言也并非是玄秘觀念的視覺(jué)轉(zhuǎn)化,而是得自美國(guó)的現(xiàn)代工業(yè)與都市的視覺(jué)經(jīng)驗(yàn)。
[Abstract]:Since the mid twentieth Century, since the influence of American modernist art on the international painting world has greatly increased, New York has taken the place of Paris and became the capital of modern art. However, the development and role of modernism in the early days of the United States is still a question to be further explored, because it is related to the American choice of modern masters. The internal logic of righteousness as its own cultural identity is also the key link in the narrative of American modernism. The time period selected by this article is from 1910 to 1929, that is, the first batch of pure abstract works with modern significance from the native artist Arthur Duff of the United States to the beginning of the economic crisis in 1930s and the economy in the 1930s. Under the influence of the deterioration of the situation, modernism has encountered a temporary interruption. In the discourse structure, this article will start with the artistic changes and demands of Native American artists such as Innis and Homer, and put forward the influence of these old local classical masters on the aesthetic schools of the embryonic period, such as the "garbage box school". Then the first modern art exhibition in the United States, the art exhibition of the armory, was discussed in the context of its art history, trying to objectively analyze the influence of this important exhibition on the style of American artists and the shock caused by the new art concept brought by the exhibition in the American art world. In the two chapters of the exploration and establishment period of American modern art, the two most representative schools, namely, "color symphism" and "precision", are presented to show the art practice of the early American modernists who follow the European counterparts to the gradual construction of the artistic appearance of the modern spirit of the United States. In the end, as a summary of this exploration, the focus of this article will be on the subtle influence of the art and thinking of the early modernists on the development of later modernism. In addition to putting forward the choroid of modernism in the development of the United States, this article will also point out a large number of examples and picture analysis: early American Modernism, which has experienced a period of confusion and creation, comes from the modern art of Europe, and the spirit comes from the modern experience of the United States, and therefore is a dual art. It is different from the rebellion, anarchism, metaphysical meaning of the modern art of Europe, and the modernism of the United States is contained from the beginning. The possibility of forming a unique appearance is not a completely rebellious traditional art, but a creation that emphasizes the continuation of tradition; its abstract language is not a visual transformation of the idea of mystery, but from the visual experience of modern industry and the city in the United States.
【學(xué)位授予單位】：北京大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J209.712
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本文編號(hào)：2103188