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美术专门学校和筹办美术展览会是其作为近代美术精英革新中国绘画的两条主要途径。本文认为,上海美专的创始人刘海粟(1896~1994)在民国初期所组织策划的一系列连续不断的美展,已与美术学校、美术专业杂志以及美术社团组合成了“三位一体”的紧密结构,这一结构共同拓展了民国初期上海西画的公共领域,开风气之先的西画家们聚集在美术院校的大旗下,通过画会加强彼此间的合作与联络;组织策划了一系列美术展览,进而利用展览的传播效应达到社会美术启蒙的目的。1919年参观日本的“帝展”及其外围展之后,刘海粟一直是全国性美术展览会的积极倡导者,在他的倡议以及蔡元培等民国精英的努力下,1929年第一次全国美术展览会得以在上海举行。
The art special schools and the preparation of art exhibitions are the two main ways for them to innovate Chinese painting as the modern art elites. This article argues that the series of series of exhibitions conceived and organized by Liu Haisu (1896 ~ 1994), the founder of Shanghai United College of Art, has become a “Trinity” with the combination of fine arts schools, fine arts magazines and fine arts associations. Close structure, this structure together to expand the public domain of Shanghai Western Painting in the early Republic of China. Western painters who pioneered the art gathering under the banner of art colleges and universities to strengthen cooperation and liaison with each other through drawing; organized a series of Art exhibitions, and then use the spread of the exhibition to achieve the purpose of social art enlightenment. After visiting Japan’s “Emperor Exhibition” and its peripheral exhibitions in 1919, Liu Haisu has been an active advocate of national art exhibitions. Under his initiative and the efforts of the elite of the Republic of China such as Cai Yuanpei, in 1929 the first nationwide Art exhibitions can be held in Shanghai.