毕加索立体主义平面性转向评析  

A Comment on Picasso’s Cubism’s Planar Turn

作　　者：李蔚 LI Wei

机构地区：[1]中国美术学院 [2]温州大学教育学院

出　　处：《当代美术家》2024年第3期90-104,共15页Contemporary Artists

摘　　要：毕加索从1907至1919年经历了从原型立体主义、分析立体主义到综合立体主义的风格转变,这段时期是他成长为伟大艺术家的关键观察窗口。从创作理念及方法论的视角切入这一时期,对他一系列的思路与突破进行重新评析,有助于深入理解西方现代艺术精神的转型内涵。平面性的转向是毕加索在立体主义时期创作思路上的重要创新,这是在美术史上下文中应然生发的策略转向。只有平面性才可以富有成效地兼容“多重透视”的分歧,才可以让现代艺术真正摆脱古典创作惯例的枷锁,从而让艺术家在创作制度上实现更大限度的自由。进入数字媒体时代,平面性画法已经成为数码绘画(插画)中基于元素拼合,适用度最广的基础法则之一。From 1907 to 1919,Picasso experienced style-changes from Proto-Cubism,Analytical Cubism to Synthetic Cubism,and this period is a key observation window for his growth into a great artist.Starting from the perspective of creative concept and methodology,this paper will re-evaluate his series of ideas and breakthroughs,which will help us to deeply understand the connotation of the transformation of the spirit of western modern art.The turn of planarization is an important innovation of Picasso's creative thinking in the Cubism period,which is a strategic turn that should be born in the context of art history.Only the flatness can be effectively compatible with the divergences of"multiple perspectives",and can modern art truly get rid of the shackles of classical creation conventions,so that artists can achieve greater freedom in the creation system.Entering the age of digital media,planar technique of painting has become one of the most widely applicable fundamental rules based on the combination of elements in digital painting(illustration).

关 键 词：创作方法论 毕加索 立体主义 平面性 拼贴 多重透视 

分 类 号：J205[艺术—美术]