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自摄影诞生以来,它与绘画的纠葛便一直纷纷扰扰地延续了几个世纪。但不可否认的是,两者的确异种同源。尤其是版画和新闻摄影,尽管形式迥异,但都以原创、平实、不可复制的视觉冲击振聋发聩,一脉相承。本次《战争的灾难》和战争摄影艺术展,呈现形式颇为别出心裁——将18世纪著名画家弗朗西斯科·戈雅名为《战争的灾难》的版画作品与当代知名战地摄影记者的一系列作品同台展现,将戈雅对战争的理解延伸到当今时代,两种艺术形式巧妙结合,看似偶然实则必然。
Since the birth of photography, its interplay with painting has been disturbing for centuries. But it is undeniable that the two are indeed heterogeneous. In particular, printmaking and photojournalism have the same strain of originality, flatness and irreproducible visual impact despite their different forms. The “War Disaster” and War Photography Art Exhibition are rather ingeniously shaped - a series of works by renowned painter Francisco Goya entitled “The Disaster of War” and contemporary well-known field photojournalists On the same stage, Goya’s understanding of the war has been extended to the current era. The combination of the two art forms cleverly coincides with the seemingly inevitable reality.