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二十世纪初,欧洲的艺术家都在努力地探索新的艺术语言,突破传统的束缚,几乎同时欧洲不同国家出现了不同的艺术流派:法国野兽派、立体主义、未来主义、德国表现主义等。德国表现主义是二十世纪头二十年流行的艺术运动和思潮。表现主义在一战前有“桥社”和“青骑士”两个社团,一战后有“新客观社”。表现主义和其他出现的流派一样,不满足印象派的表现语言,试图寻找绘画的本质。挪威画家蒙克是表现主义伟大的前驱,十九世纪末期,一些哲学家也推动了表现主义运动。表现主义的理论家和实践家宣称:“世界存在着,再去重复它就没有意思”[1]表现主义不满足艺术现状,不模仿客观现实和绘画的教育作用,去表达作者内在的信息,独特的感受形成的自由形式。德国表现主义流派探索的方向都对20世纪后期艺术产生了很大的影响。
At the beginning of the twentieth century, European artists were trying their best to explore new artistic language and break the traditional shackles. Almost at the same time, different art schools in different European countries emerged: French Fauvism, Cubism, Futurism and German Expressionism. German expressionism is a popular art movement and trend of thought in the first two decades of the twentieth century. Before the First World War, Expressionism had two associations: “Bridge Society” and “Qing Knight”. After World War I, there was “New Objective Society.” Like other schools of expression, Expressionism does not satisfy the expressionist language of Impressionism and tries to find the essence of painting. Norwegian artist Munch was a great precursor to expressionism and some philosophers promoted the expressionist movement in the late nineteenth century. Expressionist theorists and practitioners proclaim: “The existence of the world and the repetition of it mean nothing.” [1] Expressionism does not satisfy the current state of the art, does not imitate the objective reality and the educational function of painting to express the author’s inner Information, unique feelings form the freeform. The direction of German expressionist schools explores the art of the late twentieth century.