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随着抗日战争序幕的拉开,中国的历史与艺术进入了新的时期。面对新的社会现实,艺术如何开拓出既有民族特色又有时代性的路径,这成为当时进步艺术家与理论批评家面临的普遍问题。在艺术抗战的历史需要下,洪毅然认为新写实主义艺术观是适应烽火下抗战现实的艺术理论,他在大后方各报刊陆续发表了近200篇美术批评文章,明确系统地提出了“中国艺术科学化”、新写实主义艺术观和艺术大众化的美术理论主张。而且,我们从他的绘画作品中也能斑窥全貌。
As the prelude to the war of resistance against Japan opened up, China’s history and art entered a new period. Faced with the new social reality, how art can open up a path with both national characteristics and the times has become a common problem faced by progressive artists and theoretical critics. Under the historical needs of the art war, Hong decided that the neo-realist view of art was an art theory that adapted to the reality of war under the flames of war. He published nearly 200 articles of art criticism in various newspapers and periodicals in the rear area, explicitly and systematically proposed “China Art Scientification ”, Neo-realistic Art Concept and Art Popularization Theory of Fine Arts. Moreover, we can also see the whole picture from his paintings.