大卫【正版新书】
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￥ 56.1 5.6折 ￥ 99.8 全新
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作者(英)西蒙·李|责编:贺澧沙|译者:杨多
出版社湖南美术
ISBN9787535690036
出版时间2020-07
装帧其他
开本其他
定价99.8元
货号30883644
上书时间2024-07-03
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目录
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9 第一章 寻找自我的声音
由巴黎和罗马开始
51 第二章 图绘德行与爱国主义
立名启蒙时代的巴黎
97 第三章 创造新世界
大卫与大革命
163 第四章 走到人生的边缘
入狱、解脱与脱变
195 第五章 新拿破仑时代的全景画
皇帝的御用画家
253 第六章 走向衰退期？
流亡布鲁塞尔
281 第七章 脸颊浮肿的肥胖大卫
大卫的身后事
289 附录
术语表
人物小传
大事年表
地 图
延伸阅读
索 引
致 谢
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内容摘要
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"雅克·路易·大卫（1748—1825年）与法国大革命时期的社会和政治动荡之关系，比任何一位艺术家都更紧密。作为一位政治家，大卫期待社会变革；作为一位艺术家，他将画笔献给大革命事业，创作旨在赞美共和国英雄和殉道者的宣传性绘画。他是“共和国的盛典大师”，也是拿破仑时期的首席画家，其个人命运与时代历史进程相依相连。
抛开“新古典主义”的陈旧标签，本书结合最新的研究，描画了大卫艺术与生活的方方面面，特别关注大卫的艺术风格创新、对政治活动参与和对新的艺术观众群的寻找，以及他对图绘道德、德行与爱国主义不断改变的态度等一系列问题。
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精彩内容
\\\"雅克—路易？大卫（1748—1825年）是1785年至1815年间欧洲画坛的一号人物。他的艺术生涯跨越了一个充满激变与动荡的时代：启蒙主义的思想躁动，法国大革命，废黜君主制，拿破仑帝政时代，波旁王朝在法国复辟。18世纪80年代，大卫的个人艺术风格已臻完美，这一兼具戏剧张力与古典庄严的风格恰好满足了那个时代对提升绘画中的道德感的呼求。大卫的社会关系优越，他可以接触到自由主义的思想理念，也由此变得格外政治化。抨击皇家绘画与雕塑学院的沉闷压抑，主张以自我标准确认艺术家的独立性，便是他参与政治活动的雏形。作为一个思想开明的人，大卫欣然接受大革命对社会变革的许诺，他积极投身政治，于1792年当选国民公会代表。
作为政治家，大卫从不是领头人，但在大多数议题上，他的政治立场日渐激进。更为重要的是，他将画笔献给大革命事业，创作旨在赞美共和国殉道者的宣传性绘画。作为“共和国的盛典大师”，他多次组织过让所有巴黎市民参与其中的大革命狂欢节。这些活动是有力的宣传手段—颂扬自由与手足情谊的节日让新生的共和国凝为一体。然而，当激进的革命党人被温和派取代，这些经历险些让大卫送命；出狱后，他恢复了创作，并发誓再不涉足政治。不过，在拿破仑？波拿巴充满魅力与诱惑的驱使下，他又变身为这位皇帝的首席画家，以巨幅的纪念性绘画，描绘帝国宫廷的盛大仪式和恢宏场面，展现对军事英雄主义的狂热崇拜。在拿破仑倒台并遭流放后，大卫被迫离开法国逃至布鲁塞尔，在那里继续绘画生涯，直到1825年离世。
人们往往容易将大卫视为其时代的艺术晴雨表，将其画作等同于那段法国历史的图解。这种视角错误地视大卫为一位能够置身历史局外的禀异“天才”，既能充当时代的预言家，又能超然世外。况且，大卫绝不仅仅是其时代的见证人。那些以古典历史故事与当代历史事件为主题的画作，传达着大卫关于社会、文化、政治的价值观。正因如此，大卫的作品与他独有的经历和思考息息相关，也必然带有片面的见解。关于大卫的研究还存在另一种成见，即称他为新古典主义的典范。同样地，这种观点约简其一生的成就，将其囿于人造的千篇一律的概念中。一些关于大卫的研究只简单提到《荷拉斯兄弟之誓》（TheOathoftheHoratii，见图62）等几件关键作品，似乎假以“杰作”之名，这些作品便可被置于批判性讨论之外。值得注意的是，“新古典主义”一词始见于19世纪80年代，因此在那之前，大卫恐怕自认其作品属于“宏大手法”（GrandManner）或“宏伟风格”（GreatStyle）之列：那种以清晰的说教性手法描绘古代历史或《圣经》中的典范事迹与活动的绘画。大卫一生的作品经历过多次变化，从18世纪80年代的历史画，到拿破仑时期诸如《拿破仑一世及皇后的加冕典礼》（TheCoronationoftheEmperorandEmpress，见图152）等作品，再到晚年流亡时的创作，其中的价值观亦不尽相同。大卫所关怀的问题，并不囿于恒定的新古典主义，往往偏离新古典主义关于含蓄、和谐与节制的理想。
除了爱国主义、教育、宣传等公共概念，我们还将考察大卫的个人动机，如名利欲、谋求物质成功、获取艺术圈的权力。由此，一个复杂且时而缺乏同情心的大卫浮现出来。大卫在当时的艺术圈并非受欢迎的人物，正是因为他不加掩饰地争强好胜，倚仗个人稳固的经济基础挑战权威，宣扬个性。在当时，这些个性也要受到他革命政治立场的制衡：他呼吁民主，主张为了国家克制狭隘的个人利益。他总能游刃有余地在更迭的政局中立足扬名，让他在不少场合背上机会主义者的骂名。不过，他每次改变政治立场，即使稍显迟缓，也都是发乎真心。也许，大卫表现出的最大特点就是他能综合极大的责任心与极强的实用主义。
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