失落之地——论后女性主义艺术家的抗争与妥协

发布时间：2018-05-30 16:23

本文选题：女性主义艺术 + 后现代女性主义　；参考：《美术观察》2010年10期

【摘要】：女性主义艺术创作是20世纪以来现代艺术发展中的最重要潮流之一,对推动社会及文化发展曾发挥了很大的作用。21世纪以来女性主义艺术仍然保持着很强的创造活力,当下阶段的女性主义艺术被称为后女性主义或结构主义女性艺术,它同前几个历史阶段的女性主义艺术的关系,既体现了延续性又有很多新的特点。梁红霞和冉国洪的文章对部分后女性主义艺术家近年来的创作做了介绍,值得关注。以委拉斯贵支为代表的17、18世纪西班牙油画家在作品中经常使用"画中画"的构图方法,这种构图形式的灵感从何而来?关晓辉的文章指出,曾在西班牙广为流传的来自尼德兰的《福音书的批注与默想集》中的版画插图,大量使用了"画中画"的构图方式,直接影响了西班牙艺术家。该文还重点分析了委拉斯贵支采用"画中画"构图的代表性作品的深层寓意,帮助我们增进了对这些经典艺术作品的理解。
[Abstract]:Feminist art creation is one of the most important trends in the development of modern art since the 20th century. It has played a great role in promoting the development of society and culture. The present stage of feminist art is called post-feminism or structuralist female art. Its relationship with feminist art in previous historical stages embodies both continuity and many new features. Liang Hongxia and ran Guohong introduce some post-feminist artists in recent years. The 17th-century Spanish oil painters, represented by Valasquizi, often used the method of "picture-in-picture" composition in their works. How did this form of composition come from? Guan Xiaohui's article points out that the print illustrations in the Gospels and Dreams from Niederland, which had been widely circulated in Spain, used a large number of picture-in-picture composition methods, which directly influenced Spanish artists. The paper also analyzes the deep implication of the representative works of "painting in Pictures", which helps us to improve our understanding of these classical works of art.
【作者单位】：广东湛江师范学院博雅教育中心;广东湛江师范学院美术学院;
【分类号】：J110.99

【共引文献】