沙之天地

第一次練習藝術類的文章，光是查單字和專有名詞就死了一堆腦細胞，希望翻出來還算通順，從今年5/24開始翻到現在，工程不可不謂浩大。

The art movements lost to history 

藝術運動失去了它的歷史

Have you ever heard of Rayonism, Tonalism or Precisionism? Not as visible as Impressionism, they still mattered in their own unique ways, writes Kelly Grovier.

你是否曾經聽聞輻射主義、色調主義或者是精確主義？它們不只看似印象派，且依然具有影響力，以它們獨有的方式。  作者：Kelly Grovier。

By Kelly Grovier
10 April 2017

(作者 Kelly Grovier，2017/4/10)

Impressionism changed everything. Born of defiance and a rejection of tired traditions, the collective visions of Monet and Manet, Morisot and Renoir, Pissarro and Sisley became (and remain to this day) more popular than any in the history of image-making. If that weren’t remarkable enough, the movement’s nerve and verve succeeded in opening the floodgates to a dizzying proliferation of artistic ideas, ideals and painterly techniques that altered forever the story of art.

印象派改變一切。出於蔑視，以及拒絕令人厭倦的傳統，莫內和馬內、莫里索和雷諾瓦、畢加羅和希斯里，他們的共同願景變得愈來愈受到歡迎，並存留至今，超過歷史上任何的圖像製作。如果他們不是那麼的傑出，該運動那為後世那數目多到令人頭暈目眩的藝術想法、理念和技法大開方便之門的膽量和氣魄，只會為後世留下永遠的傳奇。

The last 150 years have had four times as many art movements as in the previous millennium.Before Impressionism’s emergence in the 1860s, prevailing artistic tastes shifted relatively slowly. One could be forgiven for thinking, over-simplistically, that one dominant school followed another with a kind of fluid inevitability, like the passing of an aesthetic baton from one era to next: the Renaissance handing off to Mannerism, Baroque to Rococo, Romanticism to Realism. But when Impressionism entered the race, suddenly that single lane of traffic divided into many, as separate strands spidered away from the linear path into a spaghetti of creative confusion. The ensuing century and a half witnessed more than four times as many distinct and nameable movements than the entire millennium that came before.

過去150年來，藝術運動的數量是上個千禧年的四倍之多。在1860年代印象派出現之前，大眾流行的藝術品味轉變得相對緩慢，過分簡單地說，大家都認為一個主要畫派會隨著一種流動的必然性而接在另一個主要畫派之後，就像把美學的指揮棒從一個紀元傳到下一個紀元一樣：文藝復興遞交給形式主義、巴洛克交給洛可可、浪漫主義交給寫實主義。但是當印象主義進入了競賽，突然之間，藝術的單行道分裂成許多條，就像分離的股爬行遠離筆直小徑，成為創作混亂的義大利麵。接下來的一個半世紀見證了許多不同著名的運動，數量超越上個千禧年加總四倍以上。

This year alone marks the centenary of the formal establishment of at least three separate artistic schools that emerged independently in three different locations: De Stijl in the Netherlands, Productivism in Russia and Pittura Metafisica in Italy. The first of these, De Stijl, remains familiar to more than merely devoted students of art history. The geometric colour blocks of Piet Mondrian, one of De Stijl’s co-founders, continue to mesmerise. But how many of us can, without the aid of Google, picture in our mind’s eye a work by De Stijl’s Russian and Italian creative siblings – hugely significant interludes in Modern art, but hardly household terms?

這一年獨獨紀念至少有三個不同的藝術學派正式建立的百周年，它們分別在不同的地方獨立萌芽：荷蘭風格派運動、俄國生產主義和義大利的形而上繪畫，最早開始的是荷蘭風格派運動，保留些許熟悉感，而不僅只提供藝術歷史。皮特●蒙德里安，荷蘭風格派運動其中一位創始人，他畫的幾何色塊持續迷惑人心，但沒有搜尋引擎的幫助，我們多少能做到在腦海中畫出像荷蘭風格派運動在俄國與義大利的手足繪畫──這些繪畫在現代藝術中大量出現，但幾乎沒有為人所熟知的名稱？

For every Expressionist, Cubist, Surrealist and Pop Art legend that our eyes know by heart, there’s a Tonalist, Vorticist, Biomorphist and Maximalist whose imagination rings a bell but whose manifesto slips the mind. What follows is a crib sheet to seven art movements that came and went since Impressionism upset the artistic apple cart – movements you know you know, but can’t quite name.

對於每一個我們耳熟能詳的表現主義畫家、立體主義畫家、超現實主義畫家以及普普藝術神話，一個調性主義者、漩渦主義者、生物型態主義者和極大主義者的想像力被喚醒，然而他們的宣言卻被遺忘了。下述是因印象派打亂其藝術計畫導致來了又去了的還在萌芽階段的七個藝術運動，七個你知道是什麼，卻不知道其確實名字的運動。

Synthetism (circa 1877 - 1893)

綜合主義(約1877 - 1893)

As their name suggests, Synthetists were interested in unity. Unsatisfied with Impressionism’s sleight of hand, they strove to balance both an object’s appearance and the emotion it provokes, rather than privileging one or the other. The Flageolet Player on the Cliff(1889), a painting by the French artist Paul Gauguin, is emblematic of the style. Glimpsed from a precarious vantage, a girl swings her scythe in time to the romantic notes wafting from the flute of a boy beside her on the ledge-like path. Gauguin manages to capture the vertigo of young love while at the same time remaining faithful to every humid gradation of the day’s dying light.

顧名思義，綜合主義者有興趣於統合。不滿足於印象派的熟練筆法，他們致力於同時平衡物體的外表以及其所激發的情緒，好過特定專注在其中一樣。懸崖上的吹笛人(1889)，一幅由法國畫家保羅高更所繪的畫作，是該風格的象徵。眼神帶著不確定的優越感，在一條突出彎折的小徑上，一個女孩及時將她手上的鐮刀揮向一旁男孩長笛傳送的秋波。高更設法捕捉年輕人戀愛的暈頭轉向，同時忠實地保留一日內消逝的光線的每一個潮溼漸層。

Tonalism (1880s and ‘90s)

色調主義(1880年代與1890年代)

At the same moment that the Synthetists were striking an equilibrium between feeling and form, a group of artists in the US were earning the nickname Tonalists for their tendency to draw a gauzy veil of light-suspending atmosphere across their works. James McNeill Whistler was one of the school’s attendees and so was the spiritually-sensitive George Inness – a devotee of the mystical writings of the Swedish theologian Emanuel Swedenborg. Only a whisper of lunar light illuminates the marshes of Alexandria Bay, New York, in Inness’s 1887 canvas, Moonrise. Swaddled in quarter-light, the sodden landscape through which a barely-visible boatman appears to pass from one state of existence to another dissolves into a murky mist before our very eyes.

在同一時期，綜合主義正致力於平衡感覺和形式之際，美國一個團體的藝術家以懸浮的光影氣氛之神祕面紗橫亙他們的畫作，正為他們賺得一個小名，稱為色調主義者。詹姆斯●麥克尼爾●惠斯勒是這個學派的其中一位參與者，另一位參與者還有靈性敏感的喬治●英尼斯，瑞典神學家伊曼紐●史威登堡神祕主義著作的擁護者。在英尼斯1887年的畫作〈月出〉中，只有月光的輕語照亮了紐約的亞歷山大灣沼澤地。在我們面前，被束縛在車子的邊窗那被浸濕的景觀被溶解在陰沉的薄霧中，透過一個隱約可見的船工顯示出從一個存在的狀態過渡到另一個。

Purism (1918 - 1925)

純粹主義(1918 - 1925)

Almost as quickly as the Cubist pioneers Pablo Picasso and Georges Braque had established the movement’s epoch-defining principles of fragmentation and multi-perspectivism in the 1910s, there was kickback. Among those putting the boot in were the French painter and writer Amédée Ozenfant and the celebrated French-Swiss architect Charles-Édouard Jeanneret (known as Le Corbusier). Wishing to restore geometric soundness to objects (and objecting to how fashionable, decoratively, Cubism had become), Ozenfant and Le Corbusier argued for a robust simplicity of forms. Ozenfant’s Still Life with Glass of Red Wine (1921) is a case in point. Where Cubists would merrily smash to smithereens the simplest bottle of red, the Purists saw the world as archetypally intact and brought to the table something reliably solid instead.

幾乎和立體派先驅巴勃羅●畢卡索和喬治●布拉克在1910年代建立該運動的劃時代限定原則──碎片和多視角主義同等速度，有人踢回去。其中那些大力抨擊的人士即法國畫家和作家歐贊凡和著名的法國瑞士建築師勒●科比意。希望讓物體擁有幾何的穩健，以及不讓其變成新潮的、裝飾地以及立體主義地，歐贊凡和勒●柯比意支持一個粗野的簡單形式。歐贊凡的〈一杯紅酒的靜物畫〉(1921)是一個最佳的例子。不論立體主義者會如何歡快地粉碎一瓶最簡單的紅酒成為碎片，純粹主義者仍舊看這世界是一個完整的原型且帶給這桌子一些可靠的實體做為代替。

Precisionism (1920s and 30s)

精確主義(1920年代和1930年代)

Some art schools take things in fresh new directions. Others innovate by unifying. They strive to consolidate the salient ideas of forerunning schools. Precisionism is one of those. Hailed as the first native art movement to plant roots in the United States, Precisionism absorbed principles of rivalrous European manifestos in its evocation of uniquely American themes. Charles Demuth’s iconic I Saw the Figure 5 in Gold (1928) is indicative of the eclectic style. Inspired by William Carlos Williams’s 1921 imagistic poem The Great Figure, Demuth captures the deafening reverberations of a fire engine’s blaring approach in a fierce fracture of colour and sound that is neither Cubist nor Futurist, yet both.

一些藝術學派帶來新鮮的新方向。其他人藉著統一而創新。他們致力於鞏固那些先驅學派突出的想法。精確主義是這其中的一員。為其歡呼，當第一個美國在地的藝術運動生根發芽，精確主義吸收了與其競爭的歐洲大師的原則在其喚起的獨特美國主題內。查理斯●德穆斯的標誌性的〈我看見金色的五字〉(1928)是折衷主義形式的指示。啟發自威廉●卡洛斯●威廉斯在1921年寫成的意象派詩詞〈偉大的字〉，德穆斯捕捉到消防車高音趨近的色彩和聲音激烈斷裂的震耳欲聾的反響，那不是立體主義者也不是未來主義者，但混合兩者。

Rayonism (1910s)

輻射主義(1910年代)

With obsessive attention to the behaviour of light on objects, the Impressionists startled and delighted. Decades later, in the 1910s, a pair of Russian artists, Mikhail Larionov and Natalia Goncharova, took things to another level by removing material substance altogether while retaining the sharp shards of light that it reflects. The result was Rayonism: shattered meshes of refracted colour such as Larionov’s Red Rayonism (1913). Though convinced their school represented the culmination of all previous artistic movements, Rayonism proved in fact to be merely another nudge toward that impending seismic surge that will strike in the 1940s, Abstract Expressionism, whose epicentre would not be Russia, but the United States.

隨著強迫注意到光線在物體上的行為，印象派主義者震驚且欣喜。幾十年之後，在1910年代，一對俄羅斯藝術家，米蓋爾·拉里奧諾夫和岡查羅娃，他們藉由移除物質但是保留光線反射的尖銳碎片讓事物提升至另一個層次。結果就是輻射主義：折射顏色破碎的網狀物像是拉里奧諾夫的〈紅輻射主義〉(1913)。雖然相信他們學派代表過去所有藝術運動的頂點，輻射主義還是證明一個事實，那就是輻射主義僅僅是即將在1940年代發生的地震波──抽象表現主義──來臨前進行的其他微調，震央不在俄羅斯，而在美國。

Synchromism (1910s and 20s)

同時主義(1910年代和1920年代)

While the Russian Rayonists were busy stripping form from light, a duo of American artists, Stanton MacDonald-Wright and Morgan Russell, were endeavouring to distill a rhythmic eye-music from the silent syncopations of pure colour. They called their project Synchromism and the individual works that comprised it, ‘synchromies’. Russell’s Cosmic Synchromy, painted between 1913 and 1914, is characteristic of the movement’s ambition to record in colour luminous symphonies of seeing: the mute music of the mesmerising spheres.

當俄羅斯的輻射主義正忙於從光線剝離形式之際，一對美國藝術家，斯坦頓麥克唐納 - 賴特和摩根●羅素，正努力從純顏色的沉默切分音提煉出有節奏的眼睛音樂。他們稱他們的計畫為同時主義以及個人工作包含它：「同步主義運動」。羅素的〈宇宙同步性〉，畫於1913年和1914年間，象徵此運動的野心，紀錄可見的顏色發光的交響曲：迷人球體演奏的靜默音樂。

Lettrism (1942 - )

字母派(1942 -)

Where Synchromism coaxed from quiet colour an orchestra of harmonious hues, a later movement, known as Lettrism, sought to sync the competing urgencies of language and image into a merged melody. Conceived in the 1940s by Isidore Isou, a Romanian expat to creatively-feverish Paris, Lettrism (or “Letterism” as Isou preferred) waged its campaign to change the way we experience art on a variety of cultural fronts: from literature to cinema, graphics to politics. Painters enlisted in the Lettrist cause forged a fresh genre of image-making they called ‘hypergraphics’ – a hybrid verbal-visual vision that relied for its effect on an erosion of the boundaries between reading and looking. In Isou’s own painting Hypergraphie, Polylogue, from 1964, an abacus of strange, hieroglyphic-like symbols is slowly blotted out by a huge indecipherable cipher as literal language and the splotches of abstraction slip into a seamless primordial soup of something seen. Through the Lettrist’s integrating eyes, art is the last word.

當同時主義被安靜的色彩誘哄成立一個和諧色調的樂團，一個接下來的運動，稱為字母派，試圖將語言和形象的競爭組織合併到和諧的旋律中。設想1940年代伊西多爾‧伊蘇，一個羅馬尼亞外籍人士來到富有創造力及生命力的巴黎，字母派，或者就伊蘇的偏好名稱「字母主義」，在各種文化陣線舉行活動以改變我們經歷的藝術的方式：從文學到電影，平面造型藝術到政治。畫家們加入字母主義者的行列造成偽造了一種新鮮的形象製作，他們稱其為「水轉印」──一種依靠其在侵蝕閱讀和觀看之間的界限的效果的混血語言視覺。在伊蘇自己的畫作〈Hypergraphie, Polylogue〉中，來自1964年，一個奇怪的算盤，象形文字般的象徵被巨大的、作為文學語言不可識別的密碼緩慢地抹殺，以及抽象的抽象滑進一個被看見的無縫的原始湯裡。透過字母派整合的眼光，藝術是最後一個字。