感觉的生成:身体理论视域下的博纳尔绘画研究  

The Becoming of Sensation: A Study of Bonnard's Paintings from the Perspective of Body Theory

作　　者：张瀚 Zhang Han

机构地区：[1]中央美术学院人文学院

出　　处：《美术观察》2025年第3期56-68,共13页Art Observation

摘　　要：19世纪末的法国艺术家皮埃尔·博纳尔长期以来一直被视为印象派的后继者,其绘画作品也被视作对日常生活的写生与再现。然而,在20世纪晚期,随着博纳尔的日记及书信等文献材料的释出,艺术史家、艺术批评家及其他领域的学者对博纳尔绘画的看法逐渐发生了转变,他们开始从不同的角度重新审视博纳尔的作品。琳达·诺克林与吉尔·德勒兹就是其中的代表学者,后者主要从身体理论的角度对博纳尔的部分绘画提出了新观点。本文将会在德勒兹的身体理论以及他对博纳尔作品的新解读的基础上,再次聚焦于博纳尔绘画中的“身体”,并对此进行深入阐释。Pierre Bonnard, a French artist of the late 19th century, has long been regarded as a successor of Impressionism. His paintings have also been perceived as sketches and representations of daily life. However, in the late 20th century, with the release of literary materials such as Bonnard's diaries and letters, art historians, art critics, and scholars from other fields have gradually changed their views on Bonnard's paintings. They have begun to re-examine Bonnard's works from different perspectives. Linda Nochlin and Gilles Deleuze were the representative scholars, with the latter mainly proposing new perspectives on some of Bonnard's paintings from the perspective of body theory. Based on Deleuze's theory and his new interpretation of Bonnard's works, this article will refocus on the “body” in Bonnard's paintings and provide in-depth explanations.

关 键 词：皮埃尔·博纳尔 浴女 身体 琳达·诺克林 吉尔·德勒兹 

分 类 号：J205[艺术—美术]