自20世纪70年代开始,现代主义绘画的历史受到重新审视。除了那些以现代大都市为中心的国际性“主义”以外,一些地域性的边缘绘画流派也得到了应有的重视。变形与抽象不再被视作现代主义绘画的唯一倾向,写实与叙事的传统亦恢复了自己的地位。与之相应,一些以往被忽视和遗忘的画家获得重新评价。其中,英国画家斯坦利·斯宾塞(Stanley Spencer,1891—1959)的“复活”即是一个明显的例证。特别是80年代以来,关于斯宾塞的研究论著逐渐增多,在欧洲和北美也多次举办了斯宾塞绘画的大型展览。[1]现在,斯宾塞不 Since the 1970s, the history of modernist painting has been re-examined. In addition to those international “doctrines” centered on modern metropolises, some regional fringe schools of painting have received the attention they deserve. Deformation and abstraction are no longer regarded as the only tendency of modernist painting, but the realism and narrative tradition have regained their status. Correspondingly, some artists who were neglected and forgotten in the past were re-evaluated. Among them, the resurrection of the British painter Stanley Spencer (1891-1959) is a clear example. Especially since the 1980s, there has been an increasing number of studies on Spencer. Large exhibitions of spencer paintings have also been held in Europe and North America. [1] Spencer is not now