被印象派遮蔽的一位画家:方丹·拉图尔

• 作 者: 李考智
• 机 构: 黑龙江大学艺术学院,
• 出 处: 美术
• 发表日期: 2009年05期
• 关键词: 拉图尔 方丹 马奈 印象主义 先锋艺术 艺术史研究 惠斯勒 个人特色 法国艺术 印象派画家

亨利·方丹·拉图尔(Henri Fantin Latour 1836-1904)对艺术史研究者来说是一个既熟悉又陌生的名字。人们提起他时,往往与马奈、惠斯勒等人和印象主义相联系,也常常会赞誉他在描绘静物花卉方面的能力。但是,如果仅仅把拉图尔当作一位与先锋艺术保持良好关系的中庸的沙龙画家显然是有失公允的。在过去的一个世纪里,研究者把拉图尔定位为一名记录了19世纪后期法国艺术发展的重要人物之一,也很早就承认他在肖像画和静物画上取得的持久的声誉。然而,这种尊重多少带有某种对其艺术“过于适度”的责问,的确,在那样一个激烈变异的时代,艺术才能的凸显需要比任何时候都更加突出和鲜明的个人特色才可能赢得巨大的成功。拉图尔没有像他的挚友马奈那样成为一个艺术

Henri Fantin Latour (1836-1904) is a familiar and unfamiliar name for art history researchers. Often, when men lift him up, they are often associated with Impressionism, such as Manet and Whistler, and often praise his ability to paint still life flowers. However, it is obviously unfair to regard Latour merely as a moderate salon painter who maintains good relations with pioneer art. Over the past century, researchers have positioned Latour as one of the most important figures in the development of French art in the late 1800s, and have long acknowledged his lasting reputation for portraits and still life. However, this kind of respect has some blame for its “over-moderation” of art. Indeed, in such an era of fierce variation, the highlight of artistic talent needs to be more prominent and distinctly personal than ever Win huge success. Latour did not become an art like his best friend Manet