THE NEW EUROPEAN PAINTERS (JOHN RUSSEL 1983) 李渝 新歐洲繪畫 雄獅美術，收入民族意識與卓越風格

THE NEW EUROPEAN PAINTERS (JOHN RUSSEL 1983) 

李渝 編譯  新歐洲繪畫 ，收入民族意識與卓越風格 雄獅美術出版社，2001，174~89

編譯的缺失

In view of this latter affinity, one of the more remarkable experiences of European travel in the 1980's is a visit to Georg Baselitz in Schloss Derneburg, where he and his wife and their two sons have lived since 1975. Not since Picasso bought the historic Chateau de Vauvenargues near Aix-en-Provence has a painter been housed on so startling a scale. Ninety minutes south of Hamburg on the autobahn, a visitor suddenly sees the plain give way to wooded heights that are named after the medieval town of Hildesheim.

To the right, a mile or so from the main road, a large white building stands on higher ground. Formerly a Cistercian abbey, later the home of the princes of Munster, it was occupied after World War II by the British Army.

On two quite separate counts, this is a remarkable state of affairs. In the first place, it has long been taken for granted in this country that in the second half of our century American painting enjoys an unquestioned supremacy.

In the second place, and although European painting since World War II has had its heroes and its heroines, it has not on the whole enjoyed the degree of ubiquity, let alone the universal acceptance, that has come the way of new American painting.

 They are not there to put other people out of business, the way the steam locomotive treated the covered wagon. They are there to thicken the plot -and, in particular, to assert the provocative power of paint after a period in which paint has been under sedation.

THE NEW EUROPEAN PAINTERS