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同大多数中国美术界的同行一样,我对瑞典的了解最早是1979年4月通过参观《瑞典十九世纪美术作品》在北京举办的展览会,安德鲁·佐恩的水彩画《我们每日的面包》、《在丛林中》和油画《乡村舞会》给我留下了深刻的印象;另外一组反映兵役体验的木雕,人物维妙维肖的神态至今仍历历在目。八十年代中期和九十年代,斯特林堡的戏剧和博格曼的电影先后被介绍到中国,当然还有卡尔·米勒的雕塑和诺贝尔奖。这使我对瑞典有了进一步的了解,整合出一幅深沉而又浪漫的关于瑞典的印象。
Like most counterparts in the Chinese art world, my understanding of Sweden was first exhibited in Beijing in April 1979 through a visit to “Nineteenth-Century Swedish Fine Art Works”. Andrew Zorn’s watercolor “Our Daily Bread ”,“ In the jungle ”and the oil painting“ Country Ball ”left a deep impression on me; another group of wood carvings that reflect the experience of military service, the vivid portrayal of characters are still vivid. In the mid-eighties and the nineties, the plays of Strindberg and the films of Bergman were introduced to China and, of course, to Carl Miller’s sculptures and the Nobel Prize. This gave me a deeper understanding of Sweden and a deep and romantic impression of Sweden.