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20世纪90年代末期,弥尔顿·格莱泽抛开他一贯的使命感,为米兰的云画廊描绘了《但丁神曲》三部曲中的炼狱插图,著名的美国平面设计评论家薇若尼卡·魏纳(Veronique Vienne)解释了为什么这幅画能够打动作者。从弥尔顿·格莱泽的祈祷美学到蒂华纳的美学跨度似乎看起来是一断十分绵长的路程,但是只有当你真正把这些事物看作一种良好的运行状态并寻找到其中的规律,那么你才能发现很多以前从来没有出现的因果关系。把握住这种关系并在思维上形成跨度才能吻合历史前进的步伐。
In the late 1990s, Milton Glazer put aside his usual sense of mission, portrayed the Purgatory in the trilogy of the “Dante Divine Comedy” for the Cloud Gallery in Milan. The famous American graphic design critic Wei Ruo Veronique Vienne explains why the picture impresses the author. The aesthetic aesthetics of Milton Glazer from Tijuana’s aesthetic aesthetics seems to be a long way off, but only if you really consider these things as a good state of movement and find the laws , Then you can find many causal relationships that have never existed before. It is only by grasping this relationship and forming a span in our thinking that we can keep pace with the progress of history.