![另类准则 - [美] 列奥·施坦伯格](https://static.book345.com/covers/s/9787534435928.jpg)
书籍介绍
翻开这本施坦伯格的评论集，读者最先撞上的往往不是清晰的美学结论，而是一种被刻意制造的不安。他笔下的现代艺术——从塞尚到毕加索，从马蒂斯到贾斯伯·约翰斯——始终悬在
作者简介
列奥·施坦伯格（Leo Steinberg,1920-），美国著名文艺复兴艺术史专家，20世纪最杰出的艺术批评家之一。著有《文艺复兴艺术及现代健忘中的基督的性征》、《米开朗琪罗最后的绘画》、《莱奥纳多永远的最后晚餐》、《遭遇劳申伯格》、《另类准则》等。鉴于他对美国艺术世界的巨大影响力，他与克莱门特·格林伯格（Clement Greenberg）、哈洛德·罗森伯格（Harold Rosenberg）一道，被誉为美国“文化三伯格（三山）”。
AI导读
核心看点
- 施坦伯格挑战格林伯格形式主义，提出图像志与形式分析结合的新批评范式。
- 深入剖析毕加索、约翰斯等大师，揭示现代艺术从错觉到物性的转变逻辑。
- 被誉为20世纪艺术批评经典，以敏锐洞察重塑了当代艺术研究的理论高度。
读者共识
- 尽管译文备受诟病，但书中洞见深刻，被公认为艺术批评领域的里程碑之作。
- 对毕加索、约翰斯等艺术家的解读极具启发性，颠覆了传统的艺术认知方式。
- 阅读门槛较高，需忍受翻译瑕疵，但深入理解后能获得极大的智力满足感。
精彩摘录
- "a sacrifice upon the altar of those faculties which he sincerely believes to be nobler and more important"
- "Modern art always projects itself into a twilight zone where no values are fixed. It is always born in anxiety, at least since Cezanne. And Picasso once said that what matters most to us in Cezanne, more than his pictures, is his anxiety. It seems to me a frmction of modem art to transmit this anxie"
- "The heavy outlines that accost these figured nymphs prevent any materialization of bulk or density. They seem to drain energy away from the core of the figure, making it radiate into the space about them. Or perhaps it is our vision that is shunted away, so that a figure is no sooner recognized than"
- "Contemporary art is constantly inviting us to applaud the destruction of values which we still cherish, while the positive cause, for the sake of which the sacrifices are made, is rarely made clear."
- "But here, in this picture by Jasper Johns, one felt the end of illusion. No more manipulation of paint as a medium of transformation. This man, if he wants something three-dimen- sional, resorts to a plaster cast and builds a box to contain it. When he paints on a canvas, he can only paint what is f"
- "With mindless inhumanity or indifference, the organic and the inorganic had been leveled. A dismembered face, multi- plied, blinded, repeats four times above the impersonal stare of a bull's-eye. Bull's-eye and blind faces-but juxtaposed as if by habit or accident, without any expressive intent. As "
- "He regains that perpetual oscillation which characterised our looking at pre-abstract art. But whereas, in traditional art, the oscillation was between the painted surface and subject in depth, Johns succeeds in making the pendulum swing within the flatland of post-Abstract Expressionist art. Yet th"
- "Johns gives his two-dimensional signs greater substance, weight and texture than they had in reality; in other words, he turns them into objects. The means and the meaning, the visible and the known, are so much on eand the same, that a distinction between content and form is either not yet or no lo"
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