19世纪法国美术史的另一种写法——评《印象巴黎》

Another Version of the French Art History in the 19th century: A Book Review of The Judgement of Paris

19世纪法国绘画呈现出前所未有的多元状态,其中,学院派艺术和沙龙展长期占据画坛主流,是现代前卫艺术绕不过去的促生土壤。然而,一个多世纪以来,曾纷繁庞大的学院艺术逐渐被形塑为创新的对立面,而以印象派为代表的各种前卫艺术占据了今日艺术史研究的焦点。新近出版的《印象巴黎》一书以学院派的梅索尼埃和前卫画家马奈—两位占据不同阵营的法国画家为线索,较为全面地展现了19世纪巴黎的多样化艺术图景,在一定程度上可为国内对这一阶段西方艺术史的书写和研究注入活力。

French painting in the nineteenth century presents an unprecedented diversity.The academic arts and the salon exhibitions had seized its authority over other genres in a long time,and were considered the birth place of modern avant-garde arts.As a result,for over a century,the academic arts had been stamped with an irremediable aversion to innovation in a modern art history which cheered for the Impressionists.However,the newly published The Judgement of Paris by Ross King has re-examined and provided a different comprehension of the 19th century French arts in Paris.By making comparative studies on Meissonier and Manet,to a certain extent,it can inject vitality into the writing and research of western art history in China at this stage.