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Cultural Representation of the Artistic Creation in the Nineteenth Century France

十九世纪法国艺术创作的文化表征

基本信息

批准号：
15520078
负责人：
ABE Shigeki
金额：
$ 1.15万
依托单位：
Yamagata University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2003
资助国家：
日本
起止时间：
2003 至 2004
项目状态：
已结题

项目摘要

French Painters in the Eighteenth and Nineteenth Centuries visualized the artistic creation in various manners. I analyzed the images of creation in three categories.First, they focused on the relations between the artistic creation and the society. In the Renaissance era, the atelier was depicted often with an open window, through which the quartier of the town and the outside persons were shown(fig.1). Thus, the‘art world' was forming a part of the society. In the modern period, this relation was, in a sense, reversed in the atelier imagery. It is the social relationship which is now in the atelier, the master and students are members of this small and mostly autonomous society. This could be observed in the figures 6-10.Secondly, the painters represented also the solitariness of the artists. The artists, separated from artisans, are forced to be original. This means that they must be different from all other people. But it is only this people who can support the life of the artists. … More This double-bind situation has created many interesting images. The painter as a monkey was the typical representation of the theme(figs.11-14). Other painters created the images of the melancholic situation of the artists in the modern age(figs.15-19). But, for some others, being alone is an important thing. In their atelier, they are free, independent, and concentrated on their metier(figs.20-24). The painter like Octave Tassaert created the impressive image of the social situation and misery of the modern artist(figs.26,27,29). The atelier is now depicted as a prison.Nevertheless, most of the artists had their own small society, that was composed with their friends, patrons, models or colleagues. In this case, the atelier is depicted as a salon for the amateurs of the art(figs.32-35). They created the works with collaborators around them. Atelier was also a device fulfilled with the documents or any other things which were useful for their art(figs.36.42). Atelier is now a microcosm, or a miniature of the master's artistic personality.Some novelists of the period, like Nodier, Balzac and Zola, depicted the artistic creation in the same point of view. Le peintre de Salzbeurg (1803) by Nodier is especially interesting in the image of the melancholic situation of the original artist. Less

18、19世纪的法国画家以各种方式对艺术创作进行了形象化。笔者将这些创作意象分为三大类进行分析：一是关注艺术创作与社会的关系;在文艺复兴时期，工作室经常被描绘成一扇敞开的窗户，通过窗户可以看到城镇的四分之一和外面的人（图1）。因此，“艺术界”正在成为社会的一部分。在现代时期，这种关系在工作室意象中发生了逆转。这是社会关系，现在在工作室，主人和学生是这个小的，大多是自治社会的成员。这可以从图6- 10中看出。其次，画家也代表了艺术家的孤独。艺术家与工匠分离，被迫成为原创者。这意味着他们必须与所有其他人不同。但只有这些人才能支持艺术家的生活。 ...更多信息这种双重束缚的情况创造了许多有趣的图像。画猴是这一主题的典型代表（图11 -14）。另一些画家则描绘了现代艺术家的宗教处境（图15 -19）。但是，对于其他人来说，独处是一件重要的事情。在他们的工作室里，他们是自由的，独立的，专注于他们的专业（图20 -24）。像奥克塔夫·塔萨尔这样的画家创造了令人印象深刻的现代艺术家的社会状况和痛苦的形象（图26、27、29）。工作室现在被描绘成一个监狱。然而，大多数艺术家都有自己的小社会，与他们的朋友，赞助人，模特或同事组成。在这种情况下，工作室被描绘成艺术爱好者的沙龙（图32 -35）。他们与周围的合作者一起创作作品。工作室也是一个装置，里面装满了文件或任何其他对他们的艺术有用的东西（图36.42）。工作室是艺术家艺术个性的缩影，这一时期的小说家，如诺迪埃、巴尔扎克、左拉等，都从同样的角度对艺术创作进行了描写。乐peintre德Saldurg（1803年）由Nodier是特别有趣的图像的原始艺术家的修道院的情况。少