近代抽象艺术并不仅仅渊源于齐珊和立体派。高根和他那一伙人的综合理论,以及窦纳、梵高和马蒂斯给颜色的自由发展,也都起了重要的作用。“抽象艺术”的重要性在于它以一种新的、大胆的方式强调了绘画和雕刻过去一直深深关心的一件事情,即要有客观性。但是这并不意味着否定主观。艺术的客观性愈是深入,主观的深透愈大;只要抽象形式牵涉到愈来愈多的主观过程,艺术就愈能达到客观的目的。在抽象艺术里,形式和意象完全是自主的;它们不指云任何其他对象和任何其他环境。所以一张抽象绘画或者雕刻就是它自己的对象和自己的意象;它和观者所造成的关系也是真实的和可触摸的。在视觉表现时,画家得从一种不调和的效果开始,通过抽象和选择,达到一种单纯的结构,而在抽象形式里,他却要从相反的一头开始,从单纯开始,发展为复杂。为了充分发展,抽象艺术家必须从绘画的二元媒介转移到雕刻、“构造”或者建筑的三元世界来。这是说,在抽象形式里,绘画是抽象艺术的开头而不是终结。 Modern abstract art does not only originate from Qi Shan and Cubism. The combined theory of Gao Gen and his group, as well as the free development of Douar, Van Gogh and Matisse for color, also played an important role. The importance of “abstract art” lies in the fact that it emphasizes in one new and bold way the one thing that drawing and engraving has always been deeply concerned about: objectivity. But this does not mean negating the subjective. The objectivity of art is more in-depth and more subjective. As long as abstract forms involve more and more subjective processes, the more objective the art can achieve. In abstract art, forms and images are completely autonomous; they do not refer to any other object of the cloud and to any other environment. So an abstract painting or sculpture is its own object and its own image; the relationship it makes with the viewer is also real and palpable. In the visual expression, the artist starts with an uncoordinated effect and achieves a simple structure through abstraction and choice. In the abstract form, however, he starts from the opposite and develops from a simple beginning to a complex one . To be fully developed, abstract artists must move from the dual medium of painting to carving, “tectonics,” or the architectural ternary world. This means that in an abstract form, painting is the beginning of abstract art, not the end.