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从1960年代到80年代,林风眠女性人物画的内容从含蓄表达欲望、投射个人情感、曲折表达美学理想的古装仕女,转为马蒂斯风格的直接以感官形式表达欲望的裸女画。一方面,社会背景、社会风气的转变,造成个人情绪、艺术上的转变;另一方面,两种图画也蕴含着对于女性空间的不同建构方式,承载着林风眠尝试融汇东西文化艺术的探索,体现着他参照西方艺术对东方特质进行的反观和重建。
From the 1960s to the 1980s, the content of Lin Fengmian’s female portraits was transformed into a Matisse-style nude girl’s figure directly expressing the desire in the form of sensuality, from the ancient ladies who subtly express their desires, cast personal feelings, and flexibly express their aesthetic ideal. On the one hand, the change of social background and social ethics leads to personal emotions and artistic changes; on the other hand, the two kinds of pictures also contain different ways of constructing female space, carrying Lin’s exploration of trying to integrate Eastern and Western culture and art, Reflects his reference to the Western art of oriental traits and reconstruction.