{"title":"摄影自然主义与抽象艺术","authors":"W. R. Herman","doi":"10.2307/773957","DOIUrl":null,"url":null,"abstract":"The dispute between photographic naturalism in art and abstract art may be likened to two soldiers engaged in single combat: there are vast armies behind both and a multitude of reasons why they should be facing each other. It would be an over-simplification, to continue the metaphor, to reduce all the reasons to the fact that one soldier is there, occupying a certain amount of ground, and that the other soldier, desiring that ground, must dispossess the first soldier of the area he has occupied.","PeriodicalId":407005,"journal":{"name":"College Art Journal","volume":"44 12 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1960-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Photographic Naturalism and Abstract Art\",\"authors\":\"W. R. Herman\",\"doi\":\"10.2307/773957\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The dispute between photographic naturalism in art and abstract art may be likened to two soldiers engaged in single combat: there are vast armies behind both and a multitude of reasons why they should be facing each other. It would be an over-simplification, to continue the metaphor, to reduce all the reasons to the fact that one soldier is there, occupying a certain amount of ground, and that the other soldier, desiring that ground, must dispossess the first soldier of the area he has occupied.\",\"PeriodicalId\":407005,\"journal\":{\"name\":\"College Art Journal\",\"volume\":\"44 12 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1960-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"College Art Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/773957\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"College Art Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/773957","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The dispute between photographic naturalism in art and abstract art may be likened to two soldiers engaged in single combat: there are vast armies behind both and a multitude of reasons why they should be facing each other. It would be an over-simplification, to continue the metaphor, to reduce all the reasons to the fact that one soldier is there, occupying a certain amount of ground, and that the other soldier, desiring that ground, must dispossess the first soldier of the area he has occupied.