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约翰·罗斯金的《近代画家》是19世纪英国艺术批评史上里程碑式的作品。长期以来,学界在研究该书的创作背景和重要性时格外关注其中为特纳的辩护和针对雷诺兹的扬弃。但两种思路都未能充分回应罗斯金本人关于创作目的的解释。通过梳理《近代画家》前两卷以及与之相关的记录并在19世纪上半期英国大众艺术批评演进的视野中考察本书,读者将看到一场围绕艺术评论话语权的努力和竞争,进而重新审视罗斯金关于美与品味的理论探讨,把握其思想的来龙去脉,更好地理解他在彼时众多艺术批评趋向中的制胜所在。
The “Modern Painter” by John Ruskin is a landmark work in 19th century British art criticism. For a long time, the academic circles paid special attention to the defenses of Turner and the rejection of Reynolds when studying the book’s creative background and importance. However, neither of them failed to respond adequately to Ruskin’s own explanation of his creative purpose. By examining this book in the context of the first two volumes of The Modern Painters and their associated records and the evolution of British popular art criticism during the first half of the nineteenth century, readers will see an effort and competition surrounding the power of discourse on artistic commentary, Examines the theoretical discussion of Rosekin’s theory of beauty and taste, grasps the ins and outs of his thought, and understands better his victory in the numerous trends of artistic criticism of that time.