独步于现代潮流之外 巴尔蒂斯已是老人,在画坛上却可谓年轻。他遁世隐居,远离20世纪西方迅速变幻的潮流,走的又是具象绘画道路。他必然被只追踪潮流的各类现代艺术史排除在外,直到80年代,他的大型画展才频频在世界各地露面。尽管没有人敢说他属于“后现代”,但不妨可以认为,正是后现代时期多元的文化观,才使巴尔蒂斯的位置变得重要起来。在一片重审现代艺术史的目光中,他声雀鹊起,本身就是有意思的现象。 对中国画坛来说,巴尔蒂斯来得恰如其时。油画界不少人很早已知道他的画,青年学子更为喜欢。依笔者不完整的记忆:从韦尔申等人80年代风景画的结构与光影特点上,可以看到他的影响,王玉平早期几幅人体的虚实层次上,也有一点他的味道。他造型上那种轻微变形、所采用的多层肌理及精密笔能,都被一些画家所学用。他笔下形象的那种孤零感和作品沉着的色调,也让极易沉缅于“孤独”意识中的年轻画家有所共鸣。此回中国画家能亲睹其原作, Balthus is already an elderly man outside the modern trend, but young on the art scene. He escaped seclusion, away from the rapidly changing tide of the West in the 20th century, taking the road of figurative painting. He is bound to be excluded from all kinds of modern art history that tracks the trend only until his large-scale exhibitions appeared frequently in the world in the 1980s. Although no one dares to say that he belonged to “postmodernism”, it may be argued that it is the pluralistic outlook on culture in the post-modern era that made Balthus’s place of importance important. In a review of the history of modern art in the eyes of his success, in itself is an interesting phenomenon. For Chinese painting, Balthus came at a suitable time. Many people in the oil painting industry have long known his paintings, young students prefer. According to the incomplete memory of the author: From the structure and light and shadow features of the landscapes of the 80’s by Weashen et al., We can see his influence. Wang Yuping also had some taste of his taste on the actual and actual levels of several human bodies. The slight deformation of his shape, the use of multi-layer texture and precision pen can be learned by some painters. The solitary feeling of his image and the calm tone of his work resonate with young painters who easily indulge in the sense of “loneliness.” This time Chinese painters can see their original works,