摘要
2006年4月初，有朋友从美国回来，谈及刚刚在美国开幕的纪念塞尚逝世百年的大型回顾展，兴奋之情溢于言表。这样的兴奋不仅仅是出于对“现代艺术之父”的大师作品的欣赏，更多的还在于一百年后的塞尚作品似乎还存有让人无限挖掘的艺术资源，特别是对于百年后，经历了太多艺术变异与转向，影像不断扩张泛溢的今天，更有着内在的、本原的应合与反思的意蕴。
When modern easel art is mentioned imoages will appear in our mind,and the flooding of images in real life prevents us from considering easel art in a selfcontained way Images occupy, every space of our daily lite worid in a rapid speed with its advantiages,In a way, todays world is a world of images Under this situation,two attitudes occur when people think about the icon-making function of the painting art：active cooperation, or passive exclusion .
出处
《艺术当代》
2006年第3期32-33,共2页
Art China
