2019年10月30日 星期三

紐約時報 The Parks That Made the Man Who Made Central Park


 紐約時報

The Parks That Made the Man Who Made Central Park




At Birkenhead Park, outside Liverpool, Frederick Law Olmsted was struck by the ease with which commoners and aristocrats mingled on the lawns and pathways.Credit...Andy Haslam for The New York Times

By Lisa W. Foderaro
Oct. 30, 2019, 5:00 a.m. ET



When Frederick Law Olmsted stepped off a ship in Liverpool in 1850, he was a gentleman farmer on Staten Island and intellectual, eager to embark on a walking tour of England. When he left, he had the makings of perhaps the greatest American landscape architect of all time.

Several years later, he would take an undistinguished plot of land — the future Central Park — and sculpt meadows, knolls, ponds and waterfalls, winning international praise. Central Park, which he designed with Calvert Vaux, was soon followed by Prospect Park in Brooklyn and dozens of other commissions, from Chicago to Boston.

But his vision of landscape design had its stirrings in England, a country he first visited with his brother. The tour of the English countryside took them from one charming village to another. Importantly for Olmsted’s career, the trip also led them to Birkenhead Park outside Liverpool, the first public park in England to be built with taxpayer money.



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Like Central Park, Birkenhead started as a blank slate. But a landscape architect named Joseph Paxton, who would prove hugely influential for Olmsted, had coaxed ponds and rock gardens, cricket fields and serpentine paths from the homely turf. Olmsted, whose politics leaned sharply left, saw in Birkenhead Park a radical civic experiment, a place where commoners and aristocrats could rub elbows.




ImageFrederick Law OlmstedCredit...CORBIS/Corbis, via Getty Images


In his travel memoir “Walks and Talks of an American Farmer in England,” he exclaimed: “Five minutes of admiration, and a few more spent in studying the manner in which art had been employed to obtain from nature so much beauty, and I was ready to admit that in democratic America there was nothing to be thought of as comparable with this People’s Garden.”

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If Birkenhead Park set Olmsted musing about the democratizing power of parks, Chirk Castle, which he visited on the same trip, had the opposite effect. Set in northern Wales, on the English border, the medieval castle had belonged to the same noble family for centuries when Olmsted climbed its long drive.

In his travelogue, he observed that the stone pile was in the “midst of the finest park and largest trees we have seen.” But he also voiced doubts about its privileged perch: “Is it right and best that this should be for the few, the very few of us?”

As Central Park neared completion, Olmsted returned to England, touring more parks there, as well as on the European continent. Funded by the park’s board of commissioners, the trip was part reward and part temporary banishment. The pressures of Central Park were fraying Olmsted’s nerves, while his budget overruns were vexing the board.

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The second trip proved even more critical for Olmsted’s developing aesthetic. In surveying various landscapes, Olmsted was drawn to the natural style of the English country garden over the more formal, geometric look of French estates. For Olmsted, an effective park was not unlike a good parlor trick in its ability to transport city dwellers from their noisy, crowded surroundings to a man-made Eden.

In an 1861 article for the New American Cyclopaedia, in which Olmsted traced the history of public spaces from ancient times, he wrote that European gardeners were “often faultless” in their execution of what he called “close scenery.” But, he concluded, the creation of entire landscapes, “all in imitation of nature, is to this day the peculiar art of England.”




Together, the tours would shape the look of American public spaces for generations.

“The thing about Olmsted is that nothing was ever wasted with him,” said Justin Martin, author of “Genius of Place: The Life of Frederick Law Olmsted.” “He would visit some place and years later draw on something that he saw.”

A number of the British parks and gardens Olmsted visited are still open. Five of them — Birmingham Botanical Gardens, Derby Arboretum, Chatsworth, Birkenhead Park and Chirk Castle — form a wide loop through northwestern England (and a sliver of Wales), taking in both cityscapes and magnificent countryside.




By The New York Times


Walking their paths, you can follow in the footsteps of Olmsted and see the foundations of his future designs in three dimensions.


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Image
The Aviary, Birmingham Botanical Gardens. The structure looks Victorian but is a newer addition.Credit...Andy Haslam for The New York Times

Birmingham Botanical Gardens

At the southern end of the loop is Birmingham Botanical Gardens, which feels more like a park than a museum of plants. A Victorian bandstand overlooks a broad lawn where the chasing of peacocks by small children is tolerated, if not exactly encouraged. A playground is tucked in a corner of the property.


The gardens are on the outskirts of Birmingham, a multiethnic city that is Britain’s second largest. When Olmsted visited on his second trip, in 1859, it was a booming manufacturing and financial center with a population of some 300,000 people. Parts of Central Park had already opened to the public, so he was keen to talk to city officials in Birmingham about strategies for maintaining order in parks.

In Central Park, Olmsted had established a security system that resembled the policing of city streets. But he returned to New York determined to try a gentler approach to security. Instead of relying on arrests, he blanketed the park with signs listing his rules, which forbade indecent language, throwing stones, picking flowers — even annoying birds. He also assembled a group of so-called park keepers who asserted control with friendly reminders and education.

On his tour of the Botanical Gardens, he no doubt admired the small conservatory near the entrance, built seven years earlier. Today it teems with Arabian jasmine, turmeric and coffee plants. Outside, at the far end of the lawn with the free-range peacocks, there are more exotic birds, including azure-winged magpies and parakeets. The birds are housed in the Lawn Aviary: four screened enclosures topped with fanciful domes that were built in 1995.

Olmsted might have also made mental notes of the clever way the gardeners carved out private spaces within a public garden, an element he would include in future parks. One example in Birmingham is the Rhododendron Walk, a secluded spot surrounded by a tall beech hedge and bursting with blooms. Several years later, in designing Brooklyn’s Prospect Park, Olmsted created a similarly quiet nook in the Ravine where Ambergill Falls, one of a series of man-made cascades, still attracts park-goers in search of solitude.

Image
Derby Arboretum is the smallest of the parks that Olmsted visited. The Florentine Boar statue is a replica of the original, which was placed on the site in 1806.Credit...Andy Haslam for The New York Times
Image
In his parks, Olmsted often featured winding pathways like the ones at Derby Arboretum.Credit...Andy Haslam for The New York Times


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Derby Arboretum

Derby Arboretum may be the most modest stop on Olmsted’s itinerary, an 11-acre neighborhood park surrounded by middle-class brick houses in the city of Derby, less than an hour’s drive north of Birmingham.

Built in 1840 by a wealthy local mill owner, the arboretum nonetheless holds an important title: the first public park in Britain. (Birkenhead, which opened in 1847, is careful to note it is the first park built with public funds.)

The mill owner, Joseph Strutt, who had been Derby’s mayor, commissioned it as a gesture of thanks to his employees. He hired Joseph Loudon, a Scottish botanist who had already designed the Birmingham Botanical Gardens, to create a botanical garden. Loudon instead planned an arboretum, focused on trees and laced with winding paths and ringed by a handsome wrought-iron fence.

On opening day, Derby declared a holiday so residents could enjoy their new park. It would be more than 40 years before the park actually felt like a gift, however, since the Town Council, once it took control of the property, charged an entrance fee of sixpence on most days.

Over the decades, the park slid into disrepair, but was recently restored with money from the National Lottery Heritage Fund. Today it is a peaceful oasis, scattered with large urns of geraniums and begonias, where couples stroll after work and children practice riding bicycles.

Olmsted’s visit to Derby reinforced his conviction that all towns deserve a park.

In the same article in the New American Cyclopaedia, he said there was “scarcely a finished park or promenade ground deserving mention” in the United States, where, he pointed out, residents resorted to socializing in cemeteries. In comparison, he said, “every large town in the civilized world now has public pleasure grounds in some form.” Derby, he wrote, “is provided in the same way with an arboretum.”




Image
The fountain at Chatsworth House sends water 200 feet in the air. By comparison, the water from the Central Park’ Reservoir’s fountain reaches 60 feet.Credit...Andy Haslam for The New York Times


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Chatsworth House and Gardens

If Derby Arboretum is the humblest of the five sites, then Chatsworth is easily the most lavish — a 105-acre garden with every horticultural bell and whistle, surrounding a palatial house still occupied by the 12th Duke and Duchess of Devonshire.

Chatsworth is a major tourist attraction in Britain; tourists stream through the public portions of the house and garden even while the couple, Peregrine and Amanda Devonshire, are in residence. The 126-room house dates to the 1550s, but was expanded starting in the late 1600s.

The garden has been continuously cultivated and enlarged for five centuries, with various landscape designers putting their own stamps on the property. Two of the most important were Lancelot “Capability” Brown in the 1700s and Joseph Paxton, the designer of Birkenhead Park, in the 1800s.

Much of what Olmsted saw in 1859 still enchants visitors today. There is the magnificent “Rockery,” whose boulders and man-made waterfalls evoke the Alps; the “Pinetum,” a collection of coniferous trees from around the world, and the “Canal Pond,” a huge rectangular pool with a fountain that can shoot water 200 feet into the air. (The fountain in Central Park’s Reservoir reaches 60 feet.)

Image
The water cascade, seen from the top, is probably Chatsworth House’s most dramatic element.Credit...Andy Haslam for The New York Times
Image
The boulders and man-made waterfalls of the Rockery at Chatsworth House recall the Alps.Credit...Andy Haslam for The New York Times


Perhaps the most dramatic element at Chatsworth is the Cascade, a water course completed in 1703. Built for the first Duke of Devonshire, the Cascade consists of a long series of stone staircases flowing with water. The steps originate from a domed temple and vary in height so the cascading water makes a different sound at each interval.

Surrounding the garden at Chatsworth is the Park, nearly a thousand acres of grasslands and forested ridges. For the rest of his career, Olmsted would include vast expanses of green in his designs. His fondness for wide-open vistas reached its apotheosis in Prospect Park, where the Long Meadow stretches for nearly a mile.



Image
Birkenhead Park’s Swiss Bridge. In Central Park, Olmsted created the Bow Bridge over the amoeba-shaped lake. Credit...Andy Haslam for The New York Times

Birkenhead Park

It is hard to overestimate the influence of Birkenhead on Olmsted, who was captivated by the loftiest principles and most technical details. During his visit, he was struck by the park’s ability to foster egalitarianism, later writing that “the poorest British peasant is as free to enjoy it in all its parts as the British queen.”

But he also interviewed the head gardener about the park’s drainage system and use of soil (excavated for man-made ponds) in the formation of knolls. Similar mounds would be deployed to vary the terrain in Central Park.

Today Birkenhead is a popular destination for families and sporting clubs, including rugby and cricket teams. After undergoing a careful restoration in recent years, the 125-acre park is tended by nine gardeners and 20 volunteers. Together, they maintain the gardens, lawns and trees, among them stately copper beeches and horse chestnuts.

While Birkenhead Park made a lasting imprint on Olmsted, his visit also remains an important part of the park’s lore and park officials are clearly proud of its association with Olmsted.

The current park pamphlet, under the heading “A Visitor from New York,” explains that a local baker urged Olmsted not to leave town before seeing the new park.

Hannah Shakeshaft, a park ranger, related an anecdote about Olmsted’s visit as if she had witnessed it herself. “He came in and couldn’t believe it — he absolutely loved the park,” she said. “He went and watched a bit of cricket. Then the heavens opened up and he took shelter under the Swiss Bridge.


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“As he was standing there,” she continued, “he saw the posh people with the nice dresses and hats and the poor people with caps. They were all just talking to each other, equal as anything.”




Image
Olmsted voiced doubts about Chirk Castle: “Is it right and best that this should be for the few, the very few of us?” he wrote.Credit...Andy Haslam for The New York Times

Chirk Castle

Completed in 1310, Chirk Castle, in Wrexham, Wales, was purchased in the late 1500s by the Myddelton family. Generations of the family owned it, for 400 years, gradually transforming the sprawling fortress with round crenelated towers into an elegant home. In 1978, the family sold it and the surrounding 480-acre estate to the state; a few years later it was acquired by the National Trust, which operates it as a historic site. (The family retained access to a portion of the castle.)

When he visited England in 1850, Olmsted somehow managed to wrangle an invitation to Chirk. Judging from his travel memoir, he was more impressed by the castle than the grounds, confessing that he was equally drawn to the “sumptuous taste, luxury and splendor of a modern aristocratic mansion” as to the “feudal stronghold.”

Indeed, except to say that the castle was ensconced in the “finest park” he had seen, Olmsted did not mention the gardens, which were laid out in the French style in the mid-1600s and redesigned in the 1700s in a more English vernacular by William Emes, a landscape architect who introduced broad lawns and planted thousands of trees.




Image
Long lawns like this one at Chirk Castle became a staple of Olmsted’s designs.Credit...Andy Haslam for The New York Times


To open up views of the countryside, Emes removed fences separating the estate from adjacent pastures. To prevent cows and deer from wandering into the gardens, he installed a so-called ha-ha, a huge trench that neatly hides a vertical wall while creating the illusion of a seamless landscape.







The grounds at Chirk Castle may well have inspired Olmsted after all. One of the winning features of Olmsted and Vaux’s Greensward plan for Central Park was a kind of ha-ha on steroids: crosstown transverses, or sunken roads, that allow traffic to flow through the park hidden from park-goers.

Olmsted’s two tours of British parks deepened his conception of parks as integral to the physical and emotional well-being of cities. After the first trip, Olmsted wrote that Central Park “should resemble a charming bit of rural landscape.” After the second, he expressed the same view in more soaring prose, writing in the proposal for Prospect Park that its “rural, natural, tranquilizing and poetic character” would be adapted “with the greatest care.”
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德國當代動畫及藝術大師特展 動畫大師Volker Schlecht講座 Raimund Krumme 映画監督








《德國當代動畫及藝術大師特展》-動畫大師講座來了🎉
講者:Volker Schlecht
講題:Sequential illustration: Drawing – Comic – Animation(連續影格:圖畫-漫畫-動畫)
時間:2019/11/16 , 14:00-16:00
地點:府中15-6樓活動教室
此次《德國當代動畫及藝術大師特展》特地邀請Volker來臺參與展及演講,Volker將會談論在不同範疇下靜、動之間的圖畫經驗,以及分享他近期製作中的計劃。












府中15新北市動畫故事館

7月18日下午8:30 ·

奧斯卡評審Raimund Krumme將在本週六於府中15開講囉!


主題-空間作為視覺敘事的要素與身體角色的關係


藝術家將以他多年的動畫創作歷程,針對2D平面與3D電腦動畫中的空間概念,做一完整精闢的詮釋與分析。


主講人:Raimund Krumme

主持人:趙瞬文|國立臺北藝術大學動畫系副教授

地點: 府中15 新北市動畫故事館-6樓活動教室

日期:7月20日 (六) 14:00-16:00



Raimund Krumme

映画監督

生年月日: 1950年 (年齢 69歳)


生まれドイツ ケルン

映画Rope DanceDie KreuzungGefangenenchorPassageThe Message


書籍Raimund Krumme - Play for Lines and Figures


受賞歴ドイツ映画賞 短編映画賞





Raimund Krumme


Raimund Krumme 德國 德國知名動畫藝術家 ———————————————————————— 萊蒙・克魯姆為近代知名動畫藝術大師,對於線條與空間的表現與掌控風格獨樹一格,其短片作品層被選為世界百大重要動畫影片之一。 出生於德國,曾任教於美國加州藝術大學教授、德國科隆媒體藝術學院。 除了動畫影片製作之外,近年更在各地展出其平面作品。

< 講座資訊 > 名稱:《動畫空間的描繪與運用》 時間:11/01(四) 10:00~11:40 地點:國立臺北藝術大學 藝文生態館 K301 簡介: 這場演講的中心主題為動畫「世界」的創造,以及動畫中的圖像與空間的關係。 動畫空間包含對於圖像在一個既定氛圍中的運動與安置,同時也包含了攝影機的移動與舞台的創造,進而影響著觀眾感受任何一個動作或心理狀態的方式。 動畫空間決定了動態如何在敘事中扮演積極的角色。它可說是促成情節與內容,甚至是主題於電影場景的重點。 ———————————————————————— < 工作坊資訊 > 名稱:動畫構圖工作坊 時間:11/02(五) 13:00~17:00 地點:國立臺北藝術大學 動畫學系A102教室 *此工作坊僅開放給北藝大師生。 簡介: 引導學生運用空間與構圖傳達故事:以一張小的劇照為基礎,學生將會被分配到工作,為一個或多個角色建構空間場景。參與者能自由地發揮想法來創造空間,並選擇最好發揮的媒材。此工作坊的目標是讓參與者更加深入理解布局與構圖的各種可能性,以及如何透過動畫布局來幫助表達主要角色的心理狀態。


9:45


Seiltänzer (Raimund Krumme, 1986)



Boris López F.
YouTube - 2010/01/24

0:28


Crossroads (Die Kreuzung), by Raimund Krumme (Preview)


Acme Filmworks, Inc.
Vimeo - 2013/12/12
0:29


Rope Dance (Seiltänzer), by Raimund Krumme (Preview)


Acme Filmworks, Inc.
Vimeo - 2013/12/12





ACCUPASS.COM
本次展覽與德國動畫中心(German Institute for Animated Film, 簡稱 DIAF) 及動畫藝術家們合作,透過此展深入了解德國於世界當代動畫中的地位與貢獻。展區共分為三樓層,從德國動畫中心開始拓展,延伸到德國不同年代之代表性動畫.....
動通 本次展覽與德國動畫中心(German Institute for Animated Film, 簡稱 DIAF) 及動畫藝術家們合作,透過此展深入了解德國於世界當代動畫中的地位與貢獻。展區共分為三樓層,從德國動畫中心開始拓展,延伸到德國不同年代之代表性動畫.....

2019年10月29日 星期二

Gustav Klimt Drawings & Watercolours By Rainer Metzger




Gustav Klimt
Drawings & Watercolours
Rainer Metzger




'Delightful … includes some intensely sexy drawings of women that make plain the artist’s desire for them with every caressing line' Sunday Times See Inside
PreviousJ. M. W. Turner
NextTurner in his Time

Overview


There can be no doubt about Klimt’s greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours.


Rainer Metzger brings together hundreds of Klimt’s works on paper in a way that enriches our knowledge of the artist and enhances the visual impact of his oeuvre. Many revolve around Klimt’s taboo-breaking main themes – the naked woman, erotica and homoerotica – while others provide allegorical and historical insights. Between these two poles lie Klimt’s elegantly direct preparatory sketches and studies, tirelessly and manically executed – frameworks that would lay the foundations for his paintings.

This book is a fitting testament to a hitherto neglected aspect of Klimt’s art, which is as complex and contradictory as the times in which it was made and as the man who made it.
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Reviews


'Klimt at his best'
Independent on Sunday

'Klimt at his best'
The Independent on Sunday

Related Topics
WATERCOLOURS




TuttArte
Ritratto di Emilie Flöge
Gustav Klimt (Austriaco, 1862 – 1918)
Data: 1902
(Presso l’Historisches Museum der Stadt, Vienna)

William Blake 新書2019 Edited by Martin Myrone and Amy Concannon Afterword by Alan Moore







Art & Architecture
William Blake
Edited by Martin Myrone and Amy Concannon   Afterword by
Alan Moore
An authoritative look at William Blake's life and enduring relevance as a prophetic artist, poet, and printmaker


Hardcover
Price:$55.00 / £46.00ISBN:9780691198316 Published:10/29/2019Copyright:2019
Pages:224Size:9 x 10.5 in.200 color illus.MoreBuy This
Download Cover





Overview


William Blake (1757–1827) created some of the most iconic images in the history of art. He was a countercultural prophet whose personal struggles, technical innovations, and revelatory vision have inspired generations of artists. This marvelously illustrated book explores the biographical, artistic, and political contexts that shaped Blake’s work, and demonstrates why he was a singularly gifted visual artist with renewed relevance for us today.

The book explores Blake’s relationship with the art world of his time and provides new perspectives on his craft as a printmaker, poet, watercolorist, and painter. It makes sense of the profound historical forces with which he contended during his lifetime, from revolutions in America and France to the dehumanizing effects of industrialization. Readers gain incomparable insights into Blake’s desire for recognition and commercial success, his role as social critic, his visionary experience of London, his hatred of empire, and the bitter disappointments that drove him to retire from the world in his final years. What emerges is a luminous portrait of a complicated and uncompromising artist who was at once a heretic, mystic, saint, and cynic.

With an afterword by Alan Moore, this handsome volume features many of the most sublime and exhilarating images Blake ever produced. It brings together watercolors, paintings, and prints, and draws from such illuminated masterpieces as Songs of Innocence and of Experience, Europe a Prophecy, and apocalyptic works such as Milton and Jerusalem.

Published in association with Tate

Exhibition Schedule
Tate Britain, London
September 11, 2019–February 2, 2020

2019年10月28日 星期一

《臺灣美術團體發展史料彙編》:《1991年後美術團體(1991-2018)》《解嚴前後美術團體(1970-1990)》《戰後初期美術團體(1946-1969)》《日治時期美術團體(1895-1945)》

 臺灣美術團體發展史料彙編》(四冊)簡介       承製單位:藝術家出版社
一、《日治時期美術團體(1895-1945)》 白適銘 / 編著
日治時期以來,隨著殖民政府全面性的現代化建設,臺灣美術界亦產生前所未有的質變,隨著美術教育、展覽等新型態的藝術機制出現,一個具現代文化特質的美術社會誕生,而由民間發起成立的美術團體,亦在美術現代化的過程中扮演重要角色。
  18951945年間,如雨後春筍般興起的美術團體,不僅參與成員眾多、屬性多元,分布範圍更擴及臺灣各地,發展景況超乎想像。然而有關這些美術團體的研究,卻仍未被清楚認識。本書透過日治時期美術團體的整體考察,發掘出諸多未嘗公開的史料及圖像,藉此再次檢視臺灣近代美術史的「全像」,賦予日治時期臺灣美術團體更為客觀、系統化的意義詮釋。
【作者簡介】

白適銘

日本京都大學藝術史博士,現任國立臺灣師範大學美術學系(所)教授,曾任國立臺灣藝術大學美術學系美術系(所)兼任教授、國立臺北藝術大學美術學史(所)兼任副教授、國立臺中教育大學美術學系(所)專任助理教授、國立臺南藝術大學藝術史與藝術批評研究所兼任助理教授、私立南華大學美學與藝術管理研究所專任助理教授、國立暨南國際大學歷史學系兼任助理教授等,主要著作有《日盛.雨後.木下靜涯》、《世外遺音木下靜涯舊藏畫稿作品資料研究》編著 )、〈走向自由體制的文化內視談八年代臺灣美術的脫體制現象及街頭精神〉、〈廢除「國畫」之後戰後水墨畫「東亞文化共同體」思想之形成〉、〈外來者或內在者?年代臺灣風景畫環境經驗建構問題探析〉、〈「国家」概念の視覚化:日本殖民時代における台湾戦争画の中の国民精神〉、〈公眾與景觀臺灣近代雕塑的公共化與社會性形塑〉、"Edge of the 'World': A Discussion on the 'Cosmopolitanism' and Trans-coloniality in Taiwanese Modern Art", "Cultural Vision from the Empire's Periphery: Taiwanese Traditional Ink Painting from Qing to Japanese Period"、〈記憶、被記憶與再記憶化的視覺形構─ 臺灣現當代攝影的歷史物質性與影像敘事〉、〈「地方色彩」問題再議日治時期臺灣美術文化論述中的東亞視域與主體建構〉等。

二、《戰後初期美術團體(1946-1969)》 黃冬富 / 編著
戰後初期,在臺日籍人士全部遣返日本,緊接著大批來自大陸各省的藝文菁英,追隨國民政府遷臺,牽動臺灣藝術家的結構變化。於「祖國化.去日本殖民文化」及「反共復國」之時代氛圍下,臺灣發展出不少在政策支持下成立的全國性美術團體;此外,由學校專業美術教育部分菁英所發展、標舉「現代」精神的美術團體,在性質和理念上也有別於日治時期的美術團體。
  此時,全省美展和全省教員美展仍為藝術家們視為重要的發表園地,由於創作和審美理念之差異,因而引發了「正統國畫之爭」及強調「現代」的反傳統權威體制之波瀾,「主流」、「正統」和「前衛」,遂成為此一時期臺灣畫壇之重要議題。
【作者簡介】

黃冬富

國立臺灣師範大學美術研究所藝術學碩士,現任國立屏東大學視覺藝術系藝術講座教授,曾任國立屏東師範學院總務長、教務長、美教系主任、藝教所所長,國立屏東教育大學視覺藝術學系教授兼副校長,曾應邀擔任臺北市立美術館、國立臺灣美術館、高雄市立美術館和臺南市美術館之典藏品審議委員,國立國父紀念館典藏品審議委員、展覽審查委員。主要著作有《踏實.穩健.韌性:戰後臺灣小學美術師資養成教育》、《中國美術教育史》、《呂佛庭繪畫藝術之研究》、《高雄縣美術發展史》、《屏東縣美術發展史》、《臺灣美術地方發展史全集─屏東地區》、《臺灣省展國畫部門之研究》、《歷史.榮光.名作系列─蔡草如〈菜圃景色〉》等專書十餘種,專文九十餘篇。曾獲中國文藝協會文藝獎章美術理論獎、臺灣省文獻會研究著作優等獎,國科會研究甲等獎助三次、國科會研究乙種獎助三次、省教育廳師院教師研究甲等獎三次,2007年獲教育部所屬機關學校優秀教育人員獎。

三、《解嚴前後美術團體(1970-1990)》 賴明珠 / 編著
臺灣從1949年實施戒嚴,直至1987年宣布解嚴。解嚴前,美術團體或受黨國政府之規訓、箝制;或遵從規訓,但在藝術實踐上則追尋創意與自主。此外,亦有創作者及美術團體,在吸納新潮及主體意識逐漸抬頭的環境下,不斷衝撞體制並開拓藝術創新與自主的各種可能性。
  本書即是以1970年至1990年創立的臺灣美術團體為分析文本,敘述其創立宗旨、推動歷程及創作實踐的內容,藉此歸納、分析,解嚴前後臺灣美術團體與國家政策、美術機制、賞鑑品味及美術觀念流變的關係。
【作者簡介】

賴明珠

英國愛丁堡大學東亞研究所文學碩士,曾任國立臺灣藝術大學美術學系兼任副教授,主要著作有《日治時期桃園地區的美術發展》(1996)、《日治時期臺灣東洋畫壇的麒麟兒大溪畫家呂鐵州》(1998)、《臺灣美術地方發展史回首桃源三百年》(2004)、《流轉的符號女性戰前臺灣女性圖像藝術》(2009)、《簡練.玄邈.林克恭》(2011)、《靈動.淬鍊.呂鐵州》(2013)、《優美.豪壯.許深州》(2014)、《瑰麗.象徵.金潤作》(2016)等,單篇論文散見於《臺灣美術》、《民俗曲藝》、《史物論壇》及國外《美術史論壇》(韓國)等之學術刊物。

四、《1991年後美術團體(1991-2018)》 盛鎧 / 編著
臺灣自1987年7月15日解除戒嚴後,憲法保障的人民結社自由隨之開放,美術團體也因而愈加蓬勃發展。除了新的美術團體陸續成立,1991年以後臺灣美術團體在性質上亦出現明顯變化,不僅定位較以往明確,活動型態及作用性更加多元,呈現出分眾化之趨勢:有些團體專注推廣特定媒材;有些耕耘地方,與社區深度聯結;也有的是為推動特定理念而結社,或是經營替代空間,透過據點營運以推廣藝文風氣。
  同時,網路使用習慣的普及,也使1991年後的美術團體演變出全然嶄新的運作模式。無論在數量上或質量上,1991年後的臺灣美術團體都較以往更加的自由、豐富、多樣。
【作者簡介】

盛 鎧

現任國立聯合大學臺灣語文與傳播學系教授、臺灣藝術史學會常務監事,曾策展「生命的禮拜天:張義雄百歲回顧展」(國立臺灣美術館,2013)、「不完全變態:侯俊明創作與手稿展」(國立中央大學藝文中心,2016),主要著作包括曾發表多篇關於藝術家侯俊明、張義雄、陳澄波、李石樵與郭雪湖的專題論文,以及哪吒形象演變、公共空間和巷弄意象等跨領域研究之論著,並撰有多篇藝評。目前進行之研究方向為運用文本生成學的方法,探究藝術家由圖稿或試作到作品完成過程中的創作演化。曾獲第1屆帝門藝術評論徵文獎優選(1999)、行政院文化建設委員會現代文學研究論文獎助(2004)及彭明敏文教基金會臺灣研究學位論文獎助(2007)。



國立臺灣美術館長期致力於臺灣美術史的研究與推廣,為落實文化部重建臺灣藝術史計畫,實踐「厚植文化力,打造臺灣文藝復興新時代」理念,於10月出版《臺灣美術團體發展史料彙編》,今(28)日舉行新書發表記者會,由文化部政務次長蕭宗煌主持,國美館館長林志明、藝術家出版社社長何政廣、書系顧問黃光男、審查委員林保堯、謝東山、廖新田及廖仁義,叢書作者白適銘、賴明珠、黃冬富與盛鎧,多位前輩藝術家及美術團體代表人等出席,場面熱鬧盛大。


文化部蕭宗煌次長(前排右7)、國美館林志明館長(前排右6)及貴賓合影

 文化部次長蕭宗煌表示,臺灣這塊島嶼擁有豐富多元的族群與複雜的歷史文化面貌,文化部長鄭麗君認為「藝術史」正是能將這些文化與歷史記憶保存重建的核心關鍵。因此文化部自2017年啟動「前瞻基礎建設計畫」之「重建臺灣藝術史計畫」,為政府首度運用特別預算推動之文化藝術公共政策,是以國家的高度支持臺灣美術史研究發展及史料檔案的保存。蕭宗煌次長指出,畫會團體在臺灣近現代美術發展歷程中具有關鍵性的角色,從日本殖民時期 1920年代「七星畫壇」、「臺灣水彩畫會」、「赤島社」等揭開臺灣現代美術運動的序幕,1934 年「臺陽美術協會」展開與日治時期官辦美展臺展、府展競逐抗衡體系,戰後 1956 年「東方畫會」、1957 年「五月畫會」 則掀起臺灣現代藝術的洶湧浪潮。爾後畫會及藝術團體更如雨後春筍紛紛成立,1983年臺北市美術館成立前後,替代空間結社方式亦興起,在臺灣美術發展各個階段扮演著重要的推手。因此文化部特別支持國立臺灣美術館規劃編印《臺灣美術團體發展史料彙編》,整理日治時期、戰後初期、解嚴前後、截至 2018 年期間之美術團體資料,探討在時代轉變與美術發展歷程中,美術團體的多元面向與時代意義,並作為研究臺灣美術史的工具書,為重建臺灣藝術史奠定重要的深遠基石。

 國美館館長林志明則說,《臺灣美術團體發展史料彙編》著重史料收集與分析,為臺灣美術史的重新建構立下基石,編輯群採取「屬地主義」,在臺籍藝術家之外也涵蓋日籍藝術家等,並接受藝術界所提供的眾多資料,方能成就此一更為客觀、涵蓋面廣大的研究出版里程碑,也期許書系能成為研究臺灣美術史的工具書,成為書寫臺灣藝術史的指引性史料。


國美館出版《臺灣美術團體發展史料彙編》

 「臺灣美術團體發展史料彙編出版計畫」國美館委託藝術家出版社執行,邀請國內知名美術史學者進行田野調查、資料收整及編寫,累積一千個以上美術團體資料,為臺灣美術研究寫下嶄新里程碑。《臺灣美術團體發展史料彙編》整理日治時期、戰後初期、解嚴前後、90年代起截至2018年期間之美術團體資料,探討在時代轉變與美術發展歷程中,美術團體的多元面向與時代意義。叢書包含由白適銘撰稿的《日治時期美術團體(1895-1945)》、黃冬富撰稿的《戰後初期美術團體(1946-1969)》、賴明珠撰稿的《解嚴前後美術團體(1970-1990)》,以及由盛鎧撰稿的《1991年後美術團體(1991-2018)》等四輯,收錄1895年至2018年間於臺灣成立的美術團體,透過對於團體資料的調查、彙整與編寫,重新探索臺灣美術各時期的不同面貌,促進臺灣美術發展史實之深化研究,並使研究成果及資源得以延續傳承。黃冬富老師說,叢書的完成除了作者的付出外,也需特別感謝美術團體提供的資料,以及審稿委員提供的意見,才能更完整呈現台灣美術發展的面貌。


《臺灣美術團體發展史料彙編》編者合影(右起盛鎧、賴明珠、黃冬富、白適銘)

 臺灣美術團體的活動能量及創作表現,是研究臺灣藝術史及時代美學不可或缺的重要元素。美術團體的成立,意味著藝術家得以群體之力推展美術運動與藝術思維,藝術家的創意與理想在團體成員互動中相互激盪、彼此支持,使藝術創作不復是個人的單打獨鬥;而美術團體的同仁畫展等活動,亦是藝術家學習與發表的交流平臺。臺灣美術自日治時期進入「新美術」紀元,在未設置美術專門學校的時空情境下,由民間發起成立的美術團體成為藝術同好往來學習的互動平臺,在臺灣美術現代化的過程中扮演重要角色;1945年後,臺灣美術團體的發展愈加成熟,「五月畫會」與「東方畫會」等團體的出現,推動1960年代臺灣現代繪畫運動的發展,開啟臺灣現代藝術及抽象繪畫的風潮;解嚴前後是美術團體百家爭鳴的時代,隨著社會逐漸開放,美術團體開始著眼於社會參與、環境保護等新興議題,而「伊通公園」、「2號公寓」等替代空間,則提供藝術家在美術館之外、更為自由寬廣的實驗場域;1991年以後,臺灣美術團體在活動型態及作用性質上呈現分眾化趨勢,同時,網路使用習慣的普及,也使美術團體衍變出更即時、推廣效果更為廣泛的嶄新運作模式。


《臺灣美術團體發展史料彙編》新書發表會貴賓合影

 為發揚臺灣藝術內涵、並向下一代扎根,《臺灣美術團體發展史料彙編》出版品將廣為贈送國內社教單位、大專院校、附設有美術班高中職等單位之圖書館、美術文化相關系所及文化藝術機構等;此外,這些研究成果也將寄發至國外文教機構及圖書館,以期在國際上推廣我國美術,並提供相關藝術研究資料,增進海外人士對臺灣美術團體之瞭解。本書系期以美術團體獨特的發展軌跡及歷史紀錄,反映臺灣豐富多元的創作能量,呈顯其所形構的藝術生態,並持續為臺灣藝術史的建構,提供更多討論及可運用的研究資源。叢書詳細內容請至國立臺灣美術館網站(http://www.ntmofa.gov.tw)或藝術家雜誌社網站(http://www.artist-magazine.com)查詢。


相關書籍:
臺灣美術團體發展史料彙編1.日治時期美術團體(1895-1945)
臺灣美術團體發展史料彙編2.戰後初期美術團體(1946-1969)
臺灣美術團體發展史料彙編3.解嚴前後美術團體(1970-1990)
臺灣美術團體發展史料彙編4.1991年後美術團體(1991-2018)

Medieval masterpiece found in French kitchen sells for over $26M


A lost artwork by 13th-century painter Cimabue sold for almost 24.2 million Euros ($26.8 million) after it was discovered hanging in a kitchen near Paris.