IF 0.2 2区 艺术学 0 ART
Hans-Olof Boström
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引用次数: 0

摘要

1900年前后斯堪的纳维亚现实主义和象征主义的风景画被广泛讨论,而1900年前后几十年描绘人类的绘画却没有受到同样的关注,尽管这两种时期对生活感知的差异在这种绘画中得到了更清晰的体现。为了掌握大量的材料,并研究从现实主义艺术到象征主义艺术的过渡,可以遵循几种策略。一是看人类是如何被描绘成与元素,火,空气,水,土的关系。首先,本研究集中于两个时期的火是如何表现的。在现实主义绘画中,火几乎总是在壁炉中被驯化,特别是在铸铁壁炉中,即被表现为一种实用工具和商品。在象征主义中,火通常是原木火,作为情感的催化剂,内在的,忧郁的情绪。另一个策略是什么?
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Jaget och världen speglade i förra sekelskiftets nordiska måleri: Bildkonstens människoskildring i en övergångsperiod
Summary The Representation of Self and the World in Scandinavian Painting Around 1900 While landscape painting in Scandinavian Realism and Symbolism has been widely discussed, paintings depicting human beings in the decades around the year 1900 have not received the same attention, although the differences in perception of life between the two periods are more clearly revealed in this kind of painting. In order to get a grip of the vast material and investigate the transition from Realist to Symbolist art, several strategies could be followed. One is to look at how man is depicted in relation to the elements, fire, air, water, earth. This study concentrates, to begin with, on how fire is represented during the two periods. In realistic paintings fire is almost always domesticated in the hearth, especially in cast iron fireplaces, i.e. represented as a utility and commodity. In Symbolism the fire is usually a log‐fire, functioning as a catalyst of emotions, of inward, melancholic moods. Another strategy wh...
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: Konsthistorisk tidskrift/Journal of Art History includes investigations on art, architecture, and visual culture. We welcome articles on works, creators, and specific themes, as well as on theory and historiography. Accepted articles can be thorough explorations of a topic in accordance with a standard academic genre. We also welcome texts in a shorter, less finished format, functioning as openings to discussions.
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