Theatres of Melancholy : The Neo-Romantics in Paris and Beyond

《忧郁剧院：巴黎及其他地区的新浪漫主义》

●产品信息——

出版社 ‏ : ‎ Thames & Hudson (2022年4月19日)

语言 ‏ : ‎ 英语

精装 ‏ : ‎ 256页

ISBN-10 ‏ : ‎ 0500094071

ISBN-13 ‏ : ‎ 978-0500094075

商品重量 ‏ : ‎ 1.5 kilograms

尺寸 ‏ : ‎ 23.88 x 2.79 x 28.96 cm

页面参数仅供参考，具体以实物为准

●内容简介——

对法国新浪漫主义者的深入研究，这是一个在20世纪20年代巴黎工作的国际性团体，反对现代主义抽象，支持一种新的具象绘画形式。

1926年，巴黎的Galerie Druet美术馆掀起了一股浪潮，展示了一群年轻的画家，其中包括一个国际性的艺术家团体：克里斯蒂安.贝拉德（Christian Bérard）和泰利斯.德宾斯（Thérese Debans），都是法国人；俄罗斯人Pavel Tchelitchew和Eugene和Leonid Berman兄弟；还有荷兰人克里斯蒂安.托尼。这些艺术家摒弃了现代主义抽象，回归了一种具象绘画形式。对他们中的大多数人来说，这是他们一次展示，但他们的影响是相当大的。艺术评论家瓦尔德马尔-乔治将他们称为“新浪漫主义者”或“新人文主义者”他们受到毕加索的影响，尤其是他的蓝色和玫瑰色时期，但超越了他，形成了新的绘画方式。这些艺术家喜欢玩弄被遗忘的参照物和过时的视觉设备，如特罗普.欧伊尔（trompe l'oeil）。他们还为次要艺术形式创作作品，包括戏剧、布景设计和芭蕾舞。

An in-depth illustrated study of the French Neo-Romantics, a cosmopolitan group working in 1920s Paris who turned against modernist abstraction in favor of a new form of figurative painting.

In 1926, the Galerie Druet in Paris made waves presenting a group of young painters, consisting of an international group of artists: Christian Bérard and Thérese Debains, both French; Russians Pavel Tchelitchew and the brothers Eugene and Leonid Berman; and the Dutchman Kristians Tonny. These artists had spurned modernist abstraction and returned to a form of figurative painting. For most of them, this was the first time they had exhibited, but their impact was considerable. Art critic Waldemar- George baptized them the “Neo-Romantics” or the “Neo-Humanists.” They were influenced by Picasso, in particular his Blue and Rose periods, but went beyond him to forge new ways of painting. These artists liked to play with forgotten references and obsolete visual devices such as trompe l’oeil. They also produced work for secondary art forms, including the theater, set design, and ballet.