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要知道,莫兰迪从未去过巴黎(20世纪上半叶世界的艺术中心),这在今天无异于没有去过纽约或伦敦。当我在学生时代流连于伦敦泰特美术馆的各个展厅,寻找自己的偶像时,我总会发现莫兰迪那典型的小幅画作在煞风景。这幅一开始就是苍白和暗淡的小画,无需被时间和后来的作品打败。莫兰迪本身就是历史,他知道这幅作品的生命就是这样开始的,仿佛早在创作阶段,时间就隐去了它的锋芒。
Remember that Morandi has never been to Paris (an art center in the world in the first half of the twentieth century), which today is tantamount to not being in New York or London. When I was looking for my own idol in the showrooms of the Tate Modern in London during my student life, I’d always find Morlandian’s typical small paintings in unpleasant light. This is a pale and bleak little picture from the beginning, without being defeated by time and later work. Morandi itself is history, and he knows that the life of the work begins like this, as if as early as the stage of creation, the time hides its edge.