喬治.布拉克繪畫中的默想與反思

Abstract

在西方藝術史上，立體主義突破了傳統繪畫空間觀，創立了新的藝術語言。立體派繪畫大師布拉克在1911年的作品《葡萄牙人》(Le Portugais) 所出現的印刷字體，是文字介入畫作的起源。立體派的效力於現代主義中持續迴響著，布拉克綜合立體主義的拼貼手法，為西方藝術發展帶來深刻的影響。立體主義是產生多樣性進化過程的起點，立體派畫家創造了新的藝術型態，其想法、態度傳播到其他的文化領域中，為今日藝術思潮奠定了重要的基礎。\n\n本文第一部分在探討布拉克立體派形成風格的演進過程，接續說明伴隨它們而生之創新意涵與影響力。布拉克創作的是一種理念的立體感，透過同時性與多視點的呈現來描繪主題，正是其藝術的本質所在。突破傳統單一視點觀察對象的方法，從各個方位相對地將對象進行分析、拆解與重組。布拉克承襲法國人文藝術傳統，使他的作品更富於哲學思考，本文最後進而探討布拉克作品中對繪畫藝術的默想與反思。

In the history of Western art, cubism makes a breakthrough in the concept of traditional drawing space and in the creation of a new artistic language. Georges Braque (1882-1963), a leading figure of Cubism in early twentieth century, draw letters in his painting The Portuguese (1911), which could be seen as the first piece of art work setting words in paintings. The effects of cubism are reverberating still throughout Modernism. The artistic means of collage, initiated and developed by the central figure, Braque has exerted a profound impact on Western art. Cubism was the starting point of an evolutionary process that produced diversity. The cubists created a new artistic form for his attitudes and ideas that spread to other areas of culture and that to an important degree underlie artistic thought even today. \n\nThe first part of this paper is devoted to an account of the evolution of cubism as a style, followed by a description of the innovation and influence that accompanied their birth. Georges Braque depicted the subject from multiple viewpoints to represent the subject at one time instead of depicting objects from one viewpoint. He challenged conventional forms of representation. In his artwork, objects are broken up, analyzed, and reassembled in an abstracted form. Georges Braque, as one of the two founders of cubism, inherits traditional French Humanities art, whose works are deep in philosophy thoughts. At the end, we`ll pay regard to Georges Braque`s thought and reflection by taking his paintings as examples.