20世纪上半叶,“抽象”无疑是倡导“现代艺术”的艺术家的一个重要倾向。林风眠在回国之初,就曾提出“打倒模仿的传统艺术!”民族救亡的客观环境并没有给“抽象”留出更多的生存空间。时势的选择使20世纪早期的现代艺术倾向一直方兴未艾,在当时,几乎没有纯粹抽象的作品出现,画家多是在写实的基础上做一些抽象变形。尽管如此,这类作品的影响仍然远远小于写实艺术,一直处于一种边缘状态。由此,抽象艺术获得了“非主流”的身份,这种身份不仅局限在艺术风格评判上,也关系到对于艺术家地位的评价,甚至被放大成为一种人生价值评判的标准。 In the first half of the 20th century, “abstraction” was undoubtedly an important tendency of artists advocating “modern art.” At the beginning of his return to China, Lin Fengmian once proposed that “the traditional art of overthrowing imitation!” “The objective environment of national salvation did not give more space for living. The choice of the times made the tendency of modern art in the early 20th century always on the rise. At that time, there were almost no works of purely abstract works. The painters mostly made some abstract deformations on the basis of realism. Nevertheless, the impact of such works is still far below the realism of art, has been at a marginal state. As a result, the abstract art has gained the status of ”non-mainstream". This identity is not only limited to artistic style, but also related to the evaluation of the artist's status and even enlarged to become a standard of life value judgment.