论文部分内容阅读
问:请允许我引用您在《论美术》一文中的一段话:“每个民族的艺术,都如同它的语言一样,具有自己的特征。法国那以和谐的红和蓝为基础的调色板,从让·富凯起一直延续到马蒂斯。一种独特的线条展现在蒙托瓦的圣吉尔修道院又丝毫不爽地重现在旺斯的小教堂。”(巴黎1983年加利马尔版,第107页)那么在您看来,是否确实存在文化区域? 让·克莱尔(以下简称让):我觉得持这样一种观点是危险的,因为它很容易是出自一种对地区和血统的狂热,而且,如果再把这种观点加以转化,声称某种艺术只从产生它的地区汲取特点,那就是很有害的了。 我要讲的不是法国的艺术,而是艺术的法国学派,二者是有所不同的。一个艺术家不是从理想的直空中掉下来的,他在某一地区、某一传统和某种
Q: Please allow me to quote from your article in “The Art of Fine Arts”: “Every nation has its own characteristics as its language, and the French palette of colors based on harmonious red and blue Board, starting with Jean-Foucault and continuing to Matisse, a unique line to show at Saint-Gilles monastery in Montova and with no regret to reproduce the chapel in Vence. ”(Paris, 1983 edition of Gallimard , P. 107) So, in your opinion, is it true that cultural areas really exist? Jean Claire: I find it dangerous to assume that it is easy to come from a culture that is both regional and lineage Frenzied, and if this view is to be translated again, claiming that a particular art is only drawn from the area where it was born, that can be very detrimental. What I am talking about is not the French art, but the French school of art. The two are different. An artist does not fall from the ideal sky, he is in a certain area, a tradition and some kind