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本文研究的对象是20世纪的杰出艺术史学者、当代艺术批评家之一的里奥·斯坦伯格(1920~2011)及其著作。斯坦伯格因其渊博的学识、广阔的视野与特立独行的原创精神而受到后人的敬仰;与此同时,在斯坦伯格的整个职业生涯中,“争议”始终不离其左右。不论是作为批评家还是艺术史学家,斯坦伯格都是以悖逆主流的“反派”面目登上舞台的:在当代艺术批评领域,斯坦伯格是打破形式主义垄断的先驱之一;在艺术史学领域,斯坦伯格向传统图像学方法中拘泥于文本,对一般化的“陈词滥调”过分依赖的僵化态度持续地发起挑战。本文将以斯坦伯格在艺术史学领域最负盛名的集大成之作—《文艺复兴艺术中基督的性器官与“现代遗忘”》一书为中心,去了解该书所讨论的主题是什么,他是如何发现问题及解决问题的,后来引起了那些争议,斯坦伯格怎样回应—以及为什么它对20世纪的西方艺术史发展如此重要。分上下两期刊登。
The object of this article is Leo Steinberg (1920 ~ 2011) and his book, one of the 20th century’s outstanding art historians and contemporary art critic. Steinberg was admired by his descendants for his profound knowledge, vast field of vision, and the original spirit of maverick; at the same time, Steinberg’s entire career was never disputed. Whether as a critic or an art historian, Steinberg is on the stage of rebellion against the mainstream “villain.” In the field of contemporary art criticism, Steinberg is one of the pioneers in breaking the monopoly of formalism. In the field of art historiography, Steinberg continued to challenge the rigid stereotypes of traditional “cliché” overly reliance on traditional imagery methods. This article will focus on the most famous collection of works by Steinberg in the field of art historiography - “the modern forgotten” of the sexual organs and organs of Christ in Renaissance art, and to understand what is the theme discussed in the book, How he discovered the problem and solved the problem led to those controversies, how Steinberg responded - and why it was so important to the 20th century development of Western art history. Divided up and down two issues.