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福柯在不同的著作和文章中多次讲到绘画,将17世纪的《宫娥》视作是古典主义绘画的一个代表作品,认为它集中地体现了古典绘画的再现原则,福柯也将这种原则看做是古典时期知识型的一个典型例证。而19世纪的马奈的绘画则尝试打破这一古典绘画的再现原则,但是,他还没有完全脱离再现的范畴。在20世纪,有三个人深化了马奈的原则,彻底将再现这一绘画法则埋葬。这三个人是康定斯基、克利和马格利特,他们以各自不同的方式摆脱了古典主义的绘画法则,开启了现代主义绘画的激进实验。
Foucault has mentioned painting many times in different works and articles, and sees the “Palace E” in the 17th century as a representative piece of classical painting. He thinks that it focuses on the principle of reproduction of classical painting. The principle of kind is regarded as a typical example of the knowledge type in the classical period. The nineteenth-century Manet’s painting attempts to break the principle of reproduction of the classical painting, however, but he has not completely departed from the category of reproduction. In the 20th century, three people deepened Manet’s principle and completely buried the law of reproduction. The three were Kandinsky, Cleary, and Magritte, who, in their own different ways, got rid of the classicist law of painting and started the radical experiment of modernist painting.