现代主义绘画的中国源起:从留日时期关良的艺术抉择说起  

Probing into the Origin of Modernist Painting in China: Based on Guan Liang's Art Practices When Studying in Japan

作　　者：陈建宏[1] 

机构地区：[1]广州美术学院<美术学报>编辑部,广东广州510260

出　　处：《艺术探索》2017年第3期22-32,共11页Arts Exploration

摘　　要：留日五年,关良实现了从古典写实向现代主义的绘画转变——他可能是中国洋画界最早的野兽派画家之一。他大胆扬弃固有画学而追随新法,深知走向世界首先必须融入所向往的世界,为此他自觉地与日本青年艺术家一道成为大正时期文艺狂飙的积极参与者。在关良之后,紧贴这股浩荡的"时代之流"的中国留学生便绵延不绝,关良可谓时代的弄潮儿。The five years when he pursued his studies in Japan witnessed the turn from classical to modernist style in Guan Liang＇s painting practices. The present thesis aims at discussing the early stage of Guan Liang＇s Western painting practices, who was a forerunner of China＇s modern painting. Guan Liang was one of the Chinese students who had studied in Japan in the late Qing Dynasty and the early Republican China. Guan Liang＇s art practices and his Western art study experience presented some distinct characteristics of the times with his unique artistic idea, which will be mainly discussed in this thesis.

关 键 词：关良 新画法 “跨越” 大正文化 留日 

分 类 号：J209.2[艺术—美术]