上海人民美術出版社《藝術設計名家特色精品課程》系列叢書


叢書名: 藝術設計名家特色精品課程
作者: 張堅
頁數: 252
出版日期: 2014.04
定價: 38元
書號: 978-7-5322-8880-9

編輯推薦
1)讀者能夠在較寬闊和牢固的歷史基點上,深化對現代美術視覺創造成就的切實感和體悟。
2)該書是一本針對國內高等藝術和設計院校及綜合性大學本科美術史課程教學要求編撰的教材,也可以作為一般美術史論愛好者步入西方現代美術世界的橋梁。

內容簡介
本書以西方現代美術發展四個主要歷史階段為綱,全面和清晰地勾畫了19世紀中晚期至20世紀90年代西方現代美術發展紛繁多樣的歷史圖景,其總體目標在于使讀者能在較為寬闊和牢固的歷史基點,深化對現代美術視覺創造成就的切實感知和體悟。本書是一本針對國內高等藝術和設計學院及綜合性大學本科美術史課程教學要求編寫的教材,可以作為一般美術史論愛好者步入西方現代美術世界的橋梁。

作者簡介
張堅,中國美術學院藝術人文學院教授,博士,副院長,美術史系主任,1995年畢業于浙江美術學院美術史論系,獲文學碩士學位,2002年畢業于中國美術學院美術史論系,獲文學博士學位,1998-1999年,獲希臘船王Alexander S Onasis古典藝術與文化研究基金資助,在雅典大學從事藝術史研究工作,近年發表的主要學術成果有:《視覺形式的生命》(專著),《哥特形式論》(譯著),《倫勃朗、哈爾斯、維米爾》、《馬奈、莫奈、雷諾阿》、《康定斯基與馬爾克》等,主要論文有《藝術意志:傳承與變革——沃林格爾與李格爾》、《沃林格爾與哥特藝術的形式問題》、《作為認識活動的視覺形式創造——康拉德·費德勒與近代德意志藝術史科學》、《風格史:文化“普遍史”的隱喻》、《德意志“歷史主義”與形式的“藝術史科學”》等。

目錄

一、緒論·············································· 1
1.前衛英雄崇拜·······································1
2.崛起之道···········································3
3.反叛與革命·········································6
4.現代與后現代·······································8
5.學術景觀··········································11
二、現代美術前奏:從寫實主義到印象派·················19
1.現代美術的源泉····································19
1)《草地上的午餐》·································19
2)再現的僵化·····································20
3)古典形式感·····································22
4)浪漫情懷·······································23
2.視覺真實:寫實主義·································25
1)攝影與視覺真實·································25
2)寫實主義的不同類型·····························29
3)印象派:視覺、時間和色彩·······················37
3.19世紀晚期的印象派、后印象派和象征主義············47
1)后印象派:表現性·······························47
2)象征主義:想象力·······························56
3)“新藝術”的風潮································62
三、20世紀早期現代美術·······························69
1.現代美術與現代社會································69
1)現代變革·······································69
2)現代化、殖民主義和戰爭·························70
3)科學技術浪潮···································71
2.表現主義··········································74
1)法國:野獸派···································74
2)德國和奧地利:表現主義·························79
3.立體主義和未來主義································93
1)畢加索和勃拉克·································94
2)分析立體主義···································96
3)拼貼和綜合立體主義·····························98
4)純粹主義和奧爾菲斯主義························102
5)未來主義······································105
4.形式與抽象········································109
1)幾何形式主義··································109
2)有機形式主義··································117
5.達達和超現實主義·································122
1)達達··········································122
2)超現實主義····································128
6.現實主義與革命····································141
1)攝影、繪畫與社會現實··························141
2)革命、戰爭和藝術······························145
7.早期現代建筑:功能、技術與形式···················149
1)工業革命與現代建筑····························149
2)沙利文與芝加哥學派····························152
3)賴特與新建筑··································153
4)風格派········································155
5)裝飾藝術······································156
6)格羅皮烏斯與包豪斯····························157
7)柯布西埃與國際風格····························160
四、20世紀中期現代美術······························163
1.歐洲衰落與英國崛起:文化問題·······················163
2.戰后歐洲:表現主義·································167
3.美國:抽象表現主義·································172
1) 紐約畫派·······································172
2) 色域抽象·······································179
3) 歐普藝術·······································183
4.新達達、裝置、極少主義和觀念藝術··················184
1)新達達和裝置藝術·······························184
2)抽象和極少主義·································189
3)大地和場景藝術·································192
五、20世紀晚期現代與后現代藝術·······················196
1.波普與后現代藝術潮流······························196
2.后現代藝術:多元與混雜····························206
1)超級寫實主義···································207
2)激浪派、意大利“貧困藝術”······················209
3)偶發與演示藝術·································213
4)概念藝術和女性主義藝術·························215
5)新表現主義·····································219
6)影像的沖擊·····································223
7)視頻和數字藝術的新空間·························226
3.20世紀中晚期現代和后現代建筑······················228
1)形式主義:延續與轉型···························228
2)后現代主義與解構·······························231
參考書目··············································236
后記··················································238