Introduction to Art Week 16 Cubism Futurism Dadaism Suprematism

Presentation on theme: "Introduction to Art Week 16 Cubism Futurism Dadaism Suprematism"— Presentation transcript:

1 Introduction to Art Week 16 Cubism Futurism Dadaism Suprematism
Constructism (Russian and International) Neo-Plasticism Surrealism Spatialism Abstract Expressionism Social Realism Post Modernism Ch.25 永遠的革新 十九世紀 Ch.26 新標準的追求 十九世紀晚期 Ch.27 實驗性的藝術 二十世紀前半葉 Ch.28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去

2 Cubism 1911年在巴黎的獨立沙龍首度展出 代表畫家：畢卡索、布拉克 一種概念性的繪畫法 利用變動的觀點，將種種面貌描繪在畫布上
將三度空間的對象壓扁成各種形狀，在畫布上舖排開來 從不同角度描繪事物，也探究他們在時空中的運動

3 Cubism Title: Man with a Guitar Author: Braque Date: 1911 Description:
The diversity of art is conveyed in this painting by breaking the piece into sections. This symbolizes that art isn't derived from one thing, but from many different cultures and peoples. The fact that the man with the guitar is still visible in the background shows that even though art is diverse, all art is connected. Greyness combined with an overall gloomy tone are what signify the uncertainty of life. This cloudy view on life became popular during the modernist era when war and depression flourished. The man in the background is significant to this idea to, suggesting that everything will eventually come together, be clear. This is a very interesting piece of artwork. The abstractness of it allows for much speculation to be made of its meaning. The main ideas conveyed through this piece are the diversity of art, and the uncertainty of life. Braque demonstrates the modernist era perfectly with this unique painting.

4 Cubism Title: Two Figure Author: Liubov Popova Date: 1911 Description:
Liubov' Popova beautifully demonstrates the artistic possibilities of a Cubist reconstruction and, at the same time, her talent to transcend simple imitation. The painting might have been influenced by Umberto Boccioni's 1912 Technical Manifesto of Futurist Sculpture (published in Moscow in 1914), in which he suggested "a translation in plaster, bronze, glass, wood, or any other material of those atmospheric planes which bind and intersect things"

5 Futurism 以義大利為中心 特色： 積極讚揚現代技術、速度與城市生活， 猛烈嘲諷西方藝術傳統
未來主意者精於宣傳自己的作品，使該運動備受矚目 常使用刺眼的顏色 起於1920年代 一次大戰後逐漸衰微

6 Futurism Title: The Knife Grinder Author: Kasimir Malevich Date:
Description: Malevich experimented with a variety of Modernist movements, and his philosophy is at the core of the abstract geometric style known as Suprematism. The Knife Grinder is a "Cubo-Futurist" painting. The Oxford Concise Dictionary of Art & Artists describes it as combining Cubism's fragmentation of form with Futurism's multiplication of the image.

7 Futurism Title: States of mind – The farewells
Author: Umberto Boccioni Date: 1911 Description: Set in a train station, this series of three paintings explores the psychological dimension of modern life's transitory nature. In The Farewells, Boccioni captures chaotic movement and the fusion of people swept away in waves as the train's steam bellows into the sky. Oblique lines hint at departure in Those Who Go, in which Boccioni said he sought to express "loneliness, anguish, and dazed confusion." In Those Who Stay, vertical lines convey the weight of sadness carried by those left behind.

8 Futurism Title: Swifts – path of movement + dynamic sequences
Author: Giacomo Balla Date: 1913 Description: Balla, one of the founding members of Futurism,spent much of his career studying the dynamics of movement and speed. The subject of this painting is the flight of swifts; black wings whir before a window. Inspired by photographic studies of animal locomotion such as those by French physiologist Étienne-Jules Marey, Balla created an image of motion pushed close to abstraction. The wings each represent a different position in a trajectory of motion, and the bird’s body is rendered as a diagrammatic line. Here Balla looks to science to establish a new, modern language for painting.

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10 Dadaism 出現於一次世界大戰期間 『達達』—從字典裡隨機挑選出來的無意義字 對藝術採取一種破壞性、無禮和解放的作法
兩大要素：「機遇」與「荒謬」 重要手法：「震撼」 反對嚴謹的藝術理論 代表— 杜象︰噴泉 （以現成物為作品） 阿爾普：拼貼作品

11 杜象，噴泉

12 Dadaism Title: Little machine constructed by minimax dadmax in person
Author: Max Ernst Date: 1911 Description: Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen) ( ) is a mixed-media work of art by the German dadaist/surrealist Max Ernst. This is probably the most famous example of a series of Ernst’s works that were based on diagrams of scientific instruments. This work began by creating print reproductions of these diagrams. They were then colored and textured with a combination of watercolor, gouache and pencil and ink frottage. Frottage is a technique created by Ernst that involves creating rubbings of different textured surfaces like wood and textiles to give the work a three dimensional appearance. This work also displays Ernst’s interest in typography. Many of the shapes in the machine can be seen as letters. At the bottom is an inscription that reads "Little machine constructed by Minimax Dadamax in person for fearless pollination of female suckers at the beginning of the change of life and for other such fearless functions."..

13 Dadaism Title: Study of chess players Author: marcel duchamp
Date: 1911 Description: In 1911, Marcel Duchamp, the great iconoclast of 20th-century art, was still adhering to the conventions of easel painting, formal composition, narrative structure, and individual inspiration. His formative years were bracketed by studies at the Académie Julien in Paris in 1904–05 and participation in the artistic circle known as the Puteaux Group, which gathered at the home of his older brothers and fellow artists, Raymond Duchamp-Villon and Jacques Villon, after During this period, Duchamp moved rapidly through a succession of Modernist styles before renouncing painting altogether in 1913 in favor of an art that privileged the intellectual over the optical..

14 Suprematism 俄國藝術家馬勒維奇領導 具有幾何學的特性、且常為無色 相信精神本體可以透過幾何抽象來表現 否定藝術的傳統定義
拒將純藝術視為工業或政治的附庸品 影響 年代的西方藝術與設計

15 Kasimir Malevich, Suprematist Composition, c. 1916
Suprematism Title: Supremastist Author: Kasimir Malevich Date: 1916 Description: Kazimir Severinovich Malevich (Russian: Казимир Северинович Малевич, Polish: Kazimierz Malewicz, Ukrainian: Казимир Северинович Малевич [kazɪˈmɪr sɛʋɛˈrɪnoʋɪtʃ mɑˈlɛʋɪtʃ], German: Kasimir Malewitsch, Belarusian: Казіме́р Мале́віч), (February 23, 1879, previously 1878: see below – May 15, 1935) was a Russian painter and art theoretician, born in Ukraine of ethnic Polish parents. He was a pioneer of geometric abstract art and the originator of the Avant-garde Suprematist movement.. Kasimir Malevich, Suprematist Composition, c

16 Suprematism Title: Suprematist Painting Author: Kasimir Malevich
Date: Description: Kasimir Malevich ( ), who founded what he called Suprematism, believed in an extreme of reduction: ``The object in itself is meaningless... the ideas of the conscious mind are worthless''. What he wanted was a non-objective representation, ``the supremacy of pure feeling.'' This can sound convincing until one asks what it actually means. Malevich, however, had no doubts as to what he meant, producing objects of iconic power such as his series of White on White paintings or Dynamic Suprematism (1916; 102 x 67 cm (40 x 26 1/2 in)), in which the geometric patterns are totally abstract.

17 Suprematism Title: Airplane Flying Author: Kasimir Malevich
Date: Description: Malevich had initially been influenced by Cubism and primitive art, which were both based on nature, but his own movement of Suprematism enabled him to construct images that had no reference at all to reality. Great solid diagonals of color in Dynamic Suprematism are floating free, their severe sides denying them any connection with the real world, where there are no straight lines. This is a pure abstract painting, the artist's main theme being the internal movements of the personality. The theme has no precise form, and Malevich had to search it out from within the visible expression of what he felt. They are wonderful works, and in their wake came other powerful Suprematist painters such as Natalia Goncharova and Liubov Popova.

18 Constructivism (Russian and International)
1917年俄國共產黨政變後產生的運動 以獨立部件和塑膠等當代素材，構造或組織而誠的抽象、幾何式藝術作品 反對「創作(composition)」一詞， 而改以「構成(construction)」替代 希望打破藝術與工業間的藩籬 主要雕塑家：塔特林 促成國際主義發展 烏托邦特質

19 Model for the 3rd International Tower, 1919- 1920

20 Constructivism Title: Antennae with red and blue dots
Author: Alexander Calder Date: 1960 Description: Calder’s suspended wire sculptures were given the name ‘mobiles’ by Marcel Duchamp. Several abstract shapes, normally in a palette of primary colours, black and white, are attached to wires in a way reminiscent of the growth of branches on trees. For the writer Jean-Paul Sartre, Calder’s sculptures were ‘at once lyrical inventions, technical, almost mathematical combinations, and the perceptible symbol of Nature: great elusive Nature, squandering pollen and abruptly causing a thousand butterflies to take wing’.

21 Constructivism Title: Ile de france Author: Jean Helion Date: 1935
Description: Ile de France is one of Jean Hélion’s most important abstract paintings and, at two metres across, it was clearly envisaged as a substantial piece. Typical of his work in the mid-1930s is the disposition of variously sized and coloured planes across a relatively neutral background. For the large scale of Ile de France, as distinct from the small Abstract Composition (T07921), Hélion introduced an additional blue background plane that occupies part of the upper half of the composition. The effect is to reinforce the sense of implied space, within which the apparently overlapping planes mark out a rhythm.

22 Constructivism Title: Ball, plane and hole Author: Barbara Hepworth
Date: 1936 Description: The title of this sculpture draws attention to the relationship between solid material and empty space, and to the implied passage of the ball through a plane to leave a hole. The movement is implied here by the placing of wedge, ball and hole. The natural warmth of wood offsets the purity and simplicity of Hepworth’s forms. As Hepworth’s friend the physicist JD Bernal suggested, it is one of a group of works that ‘bring out the theme of complementary forms, each solid structure being contrasted sharply with a hollow smaller, or larger, than itself.’

23 Neo-Plasticism 代表：蒙德里安 企圖以獨特的棋盤行畫作，揭露世界變動表象之下永恆的精神 水平與垂直的黑色線條
鼓吹沒有中心的繪畫，畫作中沒有明顯的著眼點 影響「風格派」、抽象表現主義等建築師、設計師與藝術家

24 Neo Plasticism Title: Composition No.1 Author: Piet Mondrian
Date: 1936 Description: Mondrian was a member of the Dutch De Stijl movement from its inception in By the early 1920s, in line with De Stijl practice, he restricted his compositions to predominantly off-white grounds divided by black horizontal and vertical lines that often framed subsidiary blocks of individual primary colors. Tableau 2, a representative example of this period, demonstrates the artist’s rejection of mimesis, which he considered a reprehensibly deceptive imitation of reality.

25 Neo Plasticism Title: Composition in grey Author: Theo Van Doesburg
Date: 1930 Description: Theo van Doesburg (30 August 1883 – 7 March 1931) was a Dutch artist, practicing in painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl.

26 Neo Plasticism Title: Construction of Volumetric Interrelationships Derived from the Inscribed Square and the Square Circumscribed by a Circle Author: Georges Vantongerloo Date: 1924 Description: Georges Vantongerloo, who accepted the De Stijl restriction of line to horizontal and vertical in 1919, based his sculpture on the volumetric translation of this principle. The variation of volume and proportion in his work was determined geometrically, often according to mathematical formulae. Mathematics was for Vantongerloo a convention that established order in the world, a rationalization of nature that could be combined successfully with an aesthetic intention to result in the production of a work of art. In this approach he felt closest to the medieval artist who composed within the constraints of geometric convention, and to the ancient Egyptians, whose solution to the “problem” of the pyramid of Cheops consisted in “the inscribed and circumscribed squares of a circle.”¹.

27 蒙德里安

28 Surrealism 延續達達主義對藝術中的非理性、顛覆性要素的探究 關注精神性、佛洛伊德心理分析和馬克思主義
「無意識」的藝術，不經由理性、道德或美感判斷 貶抑真理和陳規，視其為毫無創意 探究夢的意象，既怪異又真實

29 Surrealism Title: The Red Tower Author: Giorgio de Chirico Date: 1913
Description: Giorgio de Chirico’s enigmatic works of 1911 to 1917 provided a crucial inspiration for the Surrealist painters. The dreamlike atmosphere of his compositions results from irrational perspective, the lack of a unified light source, the elongation of shadows, and a hallucinatory focus on objects. Italian piazzas bounded by arcades or classical façades are transformed into ominously silent and vacant settings for invisible dramas. The absence of event provokes a nostalgic or melancholy mood if one senses the wake of a momentous incident; if one feels the imminence of an act, a feeling of anxiety ensues.

30 Surrealism Title: Overturned Blue Shoe With Two Heels under a Black Vault Author: Jean Arp Date: 1925 Description: Jean Arp’s 1925 "Overturned Blue Shoe with Two Heels under a Black Vault," for example, is an abstraction for which Arp invented a funny title. Joan Miro’s "Femme Assise II" (1939) deconstructs the female figure and face, with several of the seated woman’s eyes going off in different directions.

31 〈新娘禮服〉，1940年，恩思特

32 達利：記憶的永恒 Persistence of Memory 1931

33 Spatialism 代表︰方塔納 利用藝術創造新的物質環境
主張二戰後應該屬於當代的新藝術 將新科技（聲光、時間、運動等）運用在作品中，創作涵蓋整個展覽空間 劃破布表面— 使創作過程凌駕成品，遠離藝術傳統

34 Spatialism Title: Spatial Concept Author: Lucio Fontana Date: 1960
Description: In 1959, Fontana began to cut the canvas, with dramatic perfection. These cuts (or tagli) were carefully pre-meditated but executed in an instant. Like the holes in some of his other canvases, they have the effect of drawing the viewer into space. In some, however, the punctures erupt from the surface carrying the force of the gesture towards the viewer in a way that is at once energetic and threatening. Although these actions have often been seen as violent, Fontana claimed ‘I have constructed, not destroyed.’

35 An exhibition of twenty four works: oils, drawings and mixed media on canvas, ceramics and terracotta ( ).

36 Abstract Expressionism
又名『紐約畫派』(New York school) 在無意識中找尋具有普遍意義的符號 意圖描繪普遍情感 受榮格影響 專注於繪畫的肢體過程→『行動繪畫』 顛覆傳統作畫的表現動作 『色面繪畫』

37 Abstract Expressionism
Title: No.5 Author: Jackson Pollock Date: 1948 Description: In the process of making paintings in this way, he moved away from figurative representation, and challenged the Western tradition of using easel and brush. He also moved away from the use of only the hand and wrist, since he used his whole body to paint. In 1956, Time magazine dubbed Pollock "Jack the Dripper" as a result of his unique painting style. “ My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting since this way I can walk around it, work from the four sides and literally be in the painting “

38 Abstract Expressionism
Title: Stomping Grounds Author: Ed Tajchman Date: 1948 Description: This painting was worked on at different points over the course of the late 90′s and early this decade. You could say its abstract expressionist style in the vein of Wassily Kandinsky

39 Social Realism Title: Migrant Mother Author: Dorothea Lange Date: 1936
Description: Social Realism became an important art movement during the Great Depression in the United States in the 1930s. As an American artistic movement it is closely related to American scene painting and to Regionalism.

40 Social Realism Title: The Gleaners Author: Jean Francois Millet
Date: 1857 Description: Tis is one of the most well known of Millet's paintings, The Gleaners (1857). Walking the fields around Barbizon one theme returned to Millet's pencil and brush for seven years—gleaning—the centuries old right of poor women and children to remove the bits of grain left in the fields following the harvest. He found the theme an eternal one, linked to stories from the Old Testament. In 1857, he submitted the painting The Gleaners to the Salon to an unenthusiastic, even hostile, public.

41 Post-Modernism By the 1980s, visual art which criticized society was also being referred to as ‘post-modern’ Eclecticism; anti-corporate Post-modern architects felt that International style had become a repressive orthodoxy Vest with Aqualung, 1985, JEFF KOONS

42 Post-Modernism Post-Modernist architecture uses more eclectic materials and styles with greater playfulness The ethical touchstone of post-modernism is relativism – the belief that no society or culture is more important than any other Interior with Waterlilies, 1991, ROY LICHTENSTEIN

43 Post-Modernism Post-modernism also explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures Five Open Geometric Structures, 1979, SOL LEWITT

44 Post-Modernism They value art not for its universality and timelessness but for being imperfect, low-brow, accessible, disposable, local and temporary You are driving a Volvo, 1996, JULIAN OPIE Brillo, 1964, ANDY WARHOL

45 Post-Modernism Koons takes mass produced objects from everyday life and exhibits them in art galleries Three Ball Total Equilibrium Tank (Two Dr J Silver Series, Spalding NBA Tip-Off), 1985, JEFF KOONS

46 Post-Modernism Marilyn Diptych, 1962, ANDY WARHOL
The loss of an original and its displacement copies is a central preoccupation of the Post-Modern art of which Pop was a forerunner Warhol’s diptych was produced in the months following Monroe’s suicide It’s an exploration of the way individuals, after death, can achieve ‘immortality’ through endlessly replicated images in magazines and advertising Marilyn Diptych, 1962, ANDY WARHOL

47 Untitled (We Will No Longer Be Seen and Not Heard), 1985, BARBARA KRUGER

48 Ch. 25 永遠的革新 十九世紀 百利與蒲金設計於1835年位於倫敦的下議院大廈 其建築歷史就頗具有當時建築家遭受圖難的特色
百利負責決定全 面的形狀與建築 的組合 蒲金主持外表與 內部的裝飾工作 Palace of Westminster London Sr Charles Barry and A. W. N. Pugin

49 Ch. 25 永遠的革新 十九世紀 安格爾(Jean-Auguste Dominique Ingres, 1780-1867)
十九世紀前半葉的首要保守派畫家 堅持絕對準確的訓練而藐視即興散亂之作 畫於1808年的「浴女」，顯示了他處理形式的獨特技巧與構圖的冷靜明晰 The Bather of Valpin by Jean-Auguste-Dominique Ingres

50 Ch. 25 永遠的革新 十九世紀 下一個革命主要是關於左右題材的慣例
畫家米勒(Francois Millet, )決心把構想由風景擴展到人物上 The Gleaners, 1857 by Jean-Francois Millet

51 Ch. 25 永遠的革新 十九世紀 畫家高爾培(Gustave Courbet, 1819-1877)
他把西元1855年於巴黎一間簡陋的小房子裡舉行的個人展覽稱為「寫實主義，高爾培」 不要漂亮的，只要真實的東西

52 Ch. 25 永遠的 革新 十九世紀 羅塞提(Dante Gabriel Rossetti, 1828-1882)
通常天使報喜圖這個主題都是以中世紀的表達方式出現 羅塞提回復中古大師精神的用意，只是要熱心仿效他們的態度 虔心的閱讀聖經文字，欲將天使問候瑪利亞的一幕具象化 The Annunciation by Dante Gabriel Rossetti

53 Ch. 25 永遠的革新 十九世紀 英國畫家弗利斯畫的「德貝賽馬日」 維多利亞時代，流行此類狄更斯式幽默
Derby Day by William Powell Frith

54 Ch. 26 新標準的追求十九世紀晚期 塞尚(Paul Cezanne, 1839-1906)
他意圖「從自然來描繪僕辛」意思是說僕辛等古典大師，已經在畫中造就了一種奇妙的平衡與完整 塞尚就想創造一種帶有此種崇高寧靜氣質的藝術 a Mont Sainte-Victoire Paul Cézanne

55 Ch. 26 新標準的追求十九世紀晚期 Campo de trigo con ciprés, de Van Gogh
梵谷(Vincent van Gogh, ) 年青時熱心的離開巴黎，前往法國南部去追尋南國的濃烈光線與色彩 37歲自殺，他的畫家生涯總共還不到十年 崩潰了下來，進入了一間精神療養院 仍在清醒的時候繼續作畫 醞釀出其聲譽的作品，全都是在備受惶恐與絕望所騷擾的三年間完成 Campo de trigo con ciprés, de Van Gogh

56 Ch. 26 新標準的追求十九世紀晚期 La habitación de Vincent en Arlés (1888)
梵吾也吸收了印象主義和秀拉點描法的課題 他喜歡用純一顏色的點和筆觸來繪畫的技術 不僅利用個別筆觸來打散色彩，更用來傳達他自己的興奮之情 梵吾的筆觸就述說了他的心理情狀 類似於日本版畫那自由平舒的淡塗法 用他的畫來表現他的感覺 La habitación de Vincent en Arlés (1888)

57 Ch. 26 新標準的追求十九世紀晚期 瑞士畫家霍得勒(Ferdinand Hodler, 1835-1918)
在風景畫中用更簡化的筆法來獲得一種海報式的清晰性 Lake Thun by Ferdinand Hodler

58 Ch. 26 新標準的追求十九世紀晚期 羅特列克(Henride Toulouse-Lautrec, 1864-1901)
歐洲向日本學到的手法，對廣告藝術特別合適 羅特列克把類似的組續手法應用到海報這新類型的藝術上去 Henride Toulouse-Lautrec

59 Ch. 27 實驗性的藝術 二十世紀前半葉 鋼鐵結構的新技術潛能依然跟遊戲性的裝飾結合在一起
美國的萊特，他看清一棟住宅最要緊的是房間而不是外表 有機建築(Organic Architecture)這名詞意味著一所住宅應該是由人們的需要和國家的特性中成長出來，就像一個有生命的個體一樣 纽约洛克菲勒中心

60 Ch. 27 實驗性的藝術 二十世紀前半葉 一次世界大戰之前，正值藝術革命高潮的期間，著實興起一股雕刻的熱潮 西非丹族面具
「忠實於自然」及「理想化之美」是歐洲藝術裡的一對主題 強有力的豐富表現性，結構的明晰性，以及技巧上的率真簡潔性 二十世紀的藝術家都變成發明家 若能使藝術評論家感興趣，同時又能吸引跟隨者，都會被冠以新的「主義」，這是未來的歸屬 西非丹族面具

61 Ch. 27 實驗性的藝術 二十世紀前半葉 在德國亦常聽到要求徹底改革。1906年一群德國畫家成立了一個會社，叫做僑社
「先知」是諾爾德(Emil Nolde, )的一件極令人震撼的木刻 諾爾德 1912 先知

62 Ch. 27 實驗性的藝術 二十世紀前半葉 表現派雕刻家巴接希(Ernst Barlach, )的木雕「請賜憐憫」，那乞婦枯瘦的雙手之簡單姿態裡，含藏著濃烈的表現力 簡化的頭部形狀更能激發觀者的感情

63 Ch. 27 實驗性的藝術 二十世紀前半葉 慕尼黑的俄籍畫家康丁斯基(Wassily Kandinsky, )在他那本稍微令人困惑，但熱情洋溢的著述《藝術的精神》裡，強調單純顏色的心理效應，例如鮮紅色如何會像喇叭的一聲呼號般地影響我們 抽象藝術(Abstract art) 非具象(Non-objective) 強調「裝飾性」的簡化風格 樣式與立體感的衝突

64 Ch. 27 實驗性的藝術 二十世紀前半葉 . 創造的幻覺和似夢的影象
父母為義大利籍的基里訶(Giorgio de Chirico, )在希臘出生 他的野心是要捕捉到，在我們面對非所預期和全然似謎般的東西時，那種可以壓倒我們的奇異感覺 極精確的描繪許多夢幻似的圖象 用很令人困惑的題目展出 基里訶詩人之狂喜 情歌

65 Ch. 27 實驗性的藝術 二十世紀前半葉 . 我們對於事物的感情，會歪曲我們觀看它們的態度，更及於我們記憶中的事物形式，這乃是真切的事實。每個人一定有這個經驗：在快樂和悲傷時同一地方看來會大大不同 挪威畫家孟克(Edvard Munch, )，於西元1895年做了一幅石版畫「吶喊」，表現了一種突如其來的激憤如何轉化了我們的全部感知印象。 每一根線似乎都引向畫中的一個焦點-做呼喊狀的頭部 愛德華 蒙克的 吶喊

66 Ch. 28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去
MOMA-28

67 Ch. 28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去
藝術家是否將真正地創造歷史 梵谷、塞尚與高更； 第一位是遠赴南法創作的瘋狂中年荷蘭男子 第二位是許久不再把畫送到展覽會而有獨立經濟能力的退隱紳士 第三位則是成為畫家時已不年輕而不久又前往南太平洋的股票經紀人 達達主義 必需逾越巴特農神殿之馬回到童年時他的搖擺木馬去，而Dada這孩子氣的音節就可以代表如此一個玩具 這些藝術家的願望，顯然是想成為小孩子，想對藝術的嚴肅性與壯麗性表示輕蔑

68 Ch. 28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去
住在瑞士的匈牙利人凱末尼(Zoltan Kemeny, )，用金屬構成了一副抽象作品「波動」 使它們在畫布上產生相互作用，以塑造意外的搖曳閃爍或明滅顫動的感覺 這也就是名為「歐普藝術」的運動 Zoltan Kemeny

69 Ch. 28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去
唯有一些天賜有平衡形狀與色彩的奇妙才賦之男女藝術家，更稀罕的是擁有真誠個性的人。這個特性永不會因把問題解決一半而感到自滿，卻會為了懇摯工作之辛勞與苦惱，而隨時準備放棄一切唾手可得的效能及一切膚淺的成果 義大利藝術家莫蘭迪(Georgio Morandi, )極符合此描述 他喜歡畫或蝕刻簡單的靜物，用不同的角度、不同的光線來表現畫室裡的幾個花瓶和器物 Still life paintings of Georgio Morandi ( )

70 Ch. 28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去
後現代主義一詞是1975年由一位厭倦功能主義信條的年輕建築家詹克斯(Charles Jencks)所引入討論的 強森(Philip Johnson, 1906-) 1976年在紐約設計的這棟摩天大樓在評論圈內、報紙上掀起一陣騷動 回復到古代的山形牆設計，大膽地背離純粹的功能主義 Corporate Headquarter of AT&T, New York,USA

71 Ch. 28 一個沒有結尾的故事 現代主義的勝利 不同的氣氛 變化中的過去
一個人對攝影的興趣大增，收藏家爭相蒐集今昔重要攝影家作品的限版複印品 卡提埃-布瑞松手持迷你相機經驗到的興奮，正是獵人手扣板機屏息守候瞄準射擊那一剎那的感覺 對幾何學的熱情令他謹慎地在鏡頭上構組景象 趣味上能媲美許多運用更多巧思妙計構組而成的繪畫

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