本文選題：美國 + 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,由于美國現(xiàn)代主義藝術(shù)在國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,對于現(xiàn)代主義初期在美國的發(fā)展?fàn)顩r和作用卻仍是一個有待進(jìn)一步探究的問題,因?yàn)檫@關(guān)系到美國最終選擇了現(xiàn)代主義作為自己文化身份的內(nèi)在邏輯,也是構(gòu)成美國現(xiàn)代主義敘述的關(guān)鍵環(huán)節(jié)。本文所選定的時間段為1910年至1929年,即大致從美國本土藝術(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)開始,在經(jīng)濟(jì)狀況惡化的影響下,現(xiàn)代主義遇到了臨時性的中斷。在論述結(jié)構(gòu)上,本文將以美國本土藝術(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)生在美國的第一次現(xiàn)代藝術(shù)大展——軍械庫畫展——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美國藝術(shù)家產(chǎn)生的風(fēng)格影響以及這次展覽帶來的新的藝術(shù)觀念在美國藝術(shù)界引起的震動。此外,本文將在美國現(xiàn)代藝術(shù)的探索期和建立期這兩個章節(jié)分別例舉最具代表性的兩個流派,即“色彩交響主義”和“精確主義”來呈現(xiàn)早期美國本土現(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)美國現(xiàn)代精神的藝術(shù)面貌的過程。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)和思考對于后來的現(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)代主義在美國發(fā)展的脈絡(luò)性之外,本文還將通過大量實(shí)例和畫面分析指出:美國早期的現(xiàn)代主義經(jīng)歷過一個迷茫期和創(chuàng)建期,其形式來自歐洲的現(xiàn)代藝術(shù),精神卻來自美國的現(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、無政府主義、形而上的意味不同,美國的現(xiàn)代主義從一開始就蘊(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;其抽象語言也并非是玄秘觀念的視覺轉(zhuǎn)化,而是得自美國的現(xiàn)代工業(yè)與都市的視覺經(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)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J209.712
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本文編號：2103188