1910 — 1980

在具象与抽象之间
BETWEEN FIGURATION AND ABSTRACTION
# 在具象与抽象之间

## 安-赛琳·卡伦

第一次世界大战前夕,通过逐渐摒弃绘画的具体主题,欧洲艺术家得到了空前的发展。无论是抽象艺术还是非再现性艺术,艺术家通过木板、线条、形状和颜色之间的联系,将想法和感受转至画布上。这导致了新艺术形式的产生,包括有机/几何抽象,艺术成为人们寻找纯粹的通道。

阿尔贝托·马涅利处于具象与抽象争论的中心,在《乡村》中,现实清晰可辨,但它遵从某种形式上的规则,优先考虑构成和结构,通过对色彩的精确考虑,使其符合“材料用量的准确性”。在《新造型主义作品5-1号》中,塞萨尔·多梅拉试验了抽象的基本原则。奥古斯特·赫尔本的《星期四》是一个完美的例子,它表现了如何用绘画呈现视觉符号系统,并创建一个用于识别形状和颜色的连贯表达。

汉斯·哈同的风格接近抒情抽象派,他积极思考外部空间,空间的开放性和时间的记录是艺术家笔触动作的基础。《T-1949-I》画在纤维板上,画面似乎被注入了爆发力,这不是颜料的简单涂抹,而是记录时间流逝的痕迹。凭借大胆的风格和色彩的力量,这幅画可谓是他最激进的作品之一。

这种对“纯粹”的探索同样出现在皮埃尔·苏拉热的永恒艺术中,他的作品完美地展现了所用原料的简单性。光线是绘画的真正主题,它反映在画家的材料、颜色和作品中,它是缓慢的、深思熟虑的、有意识的且远离系统的。
# BETWEEN FIGURATION AND ABSTRACTION

Anne-Céline Callens

Before the outbreak of the First World War, by distancing themselves from specific subjects, European artists paved the way for unparalleled development. Whether abstract art or non-representative art, artists started transcribing thoughts and feelings onto the canvas using links between plans, lines, shapes and colours. This led to new forms of art, including organic and/or geometric abstraction. Art is a channel through which people can search for the absolute.

Alberto Magnelli found himself at the heart of the debate between figuration and abstraction. Reality is clearly present in *The Countryside*, but it complies with formal laws that prioritise the composition and construction. The colours are measured to be used with "the right quantity of material". With his *Neo-plastic Composition No. 5-1*, César Domela experimented with abstract and elementary principles. *Thursday* by Auguste Herbin, is a perfect example of how painting can be used to portray a system of visual signs, creating a coherent vocabulary that recognises shapes and colours.

Hans Hartung's style draws on lyrical abstraction. Hartung focuses on an active contemplation of outer space. The openness of space and the inscription of time are the basis of the artist's gestural strokes. T-1949-1 is painted on hardboard, as if to inject outbursts into the work. It is not a matter of covering the material, but rather adorning it to mark the passage of time. With the bold style and power of the shades, this painting certainly counts among his most radical pieces.

This search for the "absolute" is again apparent in the timeless art of Pierre Soulages. His works perfectly portray the simplicity of the resources used. The light is the real subject of the painting; it is reflected in the material, colour and work of the painter, which can be described as slow, contemplated, conscious, and yet far from systematic.