摘要
民国时期"洋画运动"中,曾有一股强烈的"现代主义"风潮,诸多"现代派"西画家以西方现代主义理念指导创作,并几乎复制了西方绘画现代主义运动以来的风格全貌。作为一场激进的"前卫性"艺术实验,这种全面模仿一方面极大丰富了画坛、提升了文化活力,但同时又显得青涩、缺乏文化的根基,最终,在时代变迁的外部刺激与艺术探索的内在需求之下,"现代主义"风潮的退却与流变不可避免地发生。
There was once a trend of modernism embodied in the western painting movement during the Republic of China and many modernism painters created their works of art guided by the western modernism concept, who almost replicated the whole picture of this style since the inception of the western modernism movement. As a radical avant-garde art experiment, such a complete imitation, on the one hand,remarkably enriches the painting circle while boosting cultural vitality, and on the other hand, assumes immature, falling short of a cultural foundation. Therefore finally, it＇s inevitable that the retreat and changes of the modernism trend occurred with the influence of an external stimulus of the change of times and an inner demand of art exploration.
出处
《淮南师范学院学报》
2018年第3期123-128,共6页
Journal of Huainan Normal University
基金
安徽省教育厅高校人文社科重点研究项目"陈独秀对民国时期美术发展的影响研究"(SK2018A0506)
关键词
民国
西画
现代主义
风潮
流变
Republic of China
western painting
modernism
trend
changes
