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在本世纪六十年代末期,我国曾涌现出一批年轻的艺术家,他们的作品犹如冲出樊笼的信鸽,不仅激起了大众和专业批评家的好奇与兴趣,而且使他们深为震惊。鉴于此,我在介绍属于这崛起一辈的两位女艺术家——伊琳娜·罗曼诺娃(ElenaRomanova)和塔蒂娜·娜扎伦科(Tatiana Naza-renko)之前,应先回顾一下当时苏维埃艺术发展的趋势。那是一个所谓“朴素风格”占据主流的时代。“朴素的风格”这一术语恰当地描述了帕维尔·尼克纳夫、泰尔·萨伦科夫、尼古拉·安德罗夫、米纳斯·艾维蒂什娅、维克多·彼普卡夫、埃德加·伊尔蒂斯以及那些在六十年代奉献出他们无与伦比的佳作的这样一批艺术家的意象。他们的作品将大众的道德行为与刨作形式有机地结合在一起,尽管他们风格各异,手法相悖,但在尽最大努力描绘真实的生活这一点上却是一致的。他们作品中的人物形象
In the late 1960s, a group of young artists emerged in our country. Their work is like a pigeon out of the cage. It not only aroused the curiosity and interest of mass and professional critics, but also deeply shocked them. For this reason, before I introduce the two female artists belonging to this rising generation, Elena Romanova and Tatiana Naza-renko, The Trend of Soviet Art Development. It was a time when the so-called “plain style” prevailed. The term “naive style” aptly describes Pavel Nikknoff, Tire Saleenkov, Nikolai Androv, Minas Ivhtyşti, Victor Pipakov, Edgar Irtysh and the group of such artists who devoted their unrivaled masterpieces to the 1960s. Their work organically combines the moral and behavioral aspects of the general public with the planing style, and though they are different in style and tactics, they are consistent in trying their best to describe real life. The characters in their works