贾科梅蒂的萨特时刻

Giacometti's Sartre Moment

《追求绝对》和《贾科梅蒂的绘画》是萨特为战后复出艺坛的贾科梅蒂两次个展撰写的著名随笔。彼时,存在主义声望正隆。这两次相伴而行,在当时的公众视野中结结实实地将两人的名字联系在一起,使得存在主义成为对贾科梅蒂艺术作品的一种“正统阐释”,并深刻影响着今天的艺术理论。本文认为,贾科梅蒂的战后雕塑与绘画作品并非在存在主义理论的影响下诞生,但它们与存在主义之间有着不容忽略的关联:一方面,在贾科梅蒂1946年发表的《梦,斯芬克斯与T.之死》一文中,有诸多迹象表明他曾经阅读过萨特1938年出版的小说《恶心》;另一方面,萨特对贾科梅蒂雕塑与绘画作品的解释,在很大程度上认真参考了贾科梅蒂本人的描述文字,由此保障了其解释对于艺术家原意的高度忠实性。因此,尽管两人在艺术观念上的分歧并非难觅,但我们仍能够恰当地将贾科梅蒂的战后复出称作“萨特时刻”。

“The Quest for the Absolute”and“Giacometti's Paintings”are two important essays written by Sartre for the two solo exhibitions of Giacometti,who then just returned to the art world after the Second World War.At that time,the prestige of existentialism was in the air.These two essays effectively linked the two names in the public view,making existentialism an“orthodox interpretation”of Giacometti's works and profoundly affecting today's art theory.This paper argues that Giacometti's post-war sculptures and paintings were not born under the influence of existentialism,although they had an apparent connection with existentialism.On the one hand,many indications in Giacometti's article“Dream,Sphinx and the Death of T”which was published in 1946 show he once read Sartre's 1938 novel La nausée.On the other hand,Sartre's interpretation of Giacometti had largely made reference to Giacometti's own accounts,and thus ensured a high fidelity to the original intention.Therefore,although it's not hard to notice their differences in art ideas,we can still properly call Giacometti's post-war comeback as“a Sartre Moment.”