摘要
1949-1966年即十七年时期的社会主义美术也不全然都是受“苏派”影响的现实主义写实风格,一批艺术家仍然坚持有别于主流的现代主义风格,并从印象主义、表现主义、形式主义等多重视角来构建新中国的图景。他们中有20世纪前期就留洋的颜文樑、周碧初、胡善馀、刘海粟、关良、谭华牧、符罗飞、林风眠、倪贻德,也有20世纪五六十年代留学东德的梁运清和“罗训班”的学员夏培耀、金一德,以及来华的外国艺术家博巴、麦绥莱勒。尽管处境边缘,但他们仍然在现实主义与现代主义,宏大叙事与个人语言之间努力探索一种平衡,以“社会主义现代主义”的差异化表达为新中国的社会主义美术提供了另类路径。
The socialist fine arts in the seventeen years from 1949 to 1966 were not all realistic styles influenced by the“Soviet School”.A group of artists still adhered to a modernist style different from the mainstream,and built the visual image of new China from impressionism,expressionism,formalism and other perspectives.Among them are Yan Wenliang,Zhou Bichu,Hu Shanyu,Liu Haisu,Guan Liang,Tan Huamu,Fu Luofei,Lin Fengmian,Ni Yide who studied abroad in the early 20th century,Liang Yunqing who studied in East Germany in the 1950s and 1960s,and Xia Peiyao,Jin Yide,young students of the“Popa class”.And foreign artists Popa and Masereel also came to China.Despite their marginal situation,they still strove to explore a balance between realism and modernism,grand narrative and personal language,and provided an alternative path for socialist art in new China with the differential expression of“socialist modernism”.
出处
《当代美术家》
2022年第6期22-28,共7页
Contemporary Artists
