精神视野中的风景——乔治·英尼斯及其色调主义转向  

Landscape from a Spiritual Perspective: George Inness and His Turn to Tonalism

作　　者：孙小訸 Sun Xiaohe(Academy of Arts and Design,Tsinghua University)

机构地区：[1]清华大学美术学院

出　　处：《美术》2024年第2期131-141,共11页Art Magazine

摘　　要：19世纪至20世纪之交的美国绘画发展,尤其是哈德逊河画派至色调主义画派的转变,是美国艺术史上的关键时期。这一时期不仅勾勒出美国绘画的独立发展轨迹,也为20世纪现代绘画的崛起奠定了基础。在此背景下,乔治·英尼斯的艺术脉络显得尤为重要,他与哈德逊河画派第二代画家共同成长,在斯威登堡教义的影响下形成独立风格,并开启和引领了美国色调主义运动。本文通过挖掘英尼斯的绘画、言论、日记和时代评论等一手资料,完整展现英尼斯的艺术发展路径,进而深入分析色调主义的时代背景及其对美国现代艺术的重要意义。The development of painting, in particular the turn of the Hudson River School to tonalism, at the turn of the 19th Century and the 20th Century is critical in American art history, a period that demonstrated the independent development of American painting and laid a foundation for the rise of modern painting in the 20th Century. This made the artistic trajectory of George Inness particularly important, who developed painting skills together with the second generation of painters of the Hudson River School, formed his own style under the influence of the thought of Emanuel Swedenborg, and started and led tonalist movement in the United States. By studying first-hand materials including Inness' s paintings, speeches, diaries and reviews, this article fully demonstrates the artist's development path, and carries out an in-depth analysis of the historical background of tonalism and its significance to modern art in the United States.

关 键 词：乔治·英尼斯 色调主义 哈德逊河画派 埃曼纽尔·斯威登堡 超验主义 

分 类 号：J213[艺术—美术]