新印象主义

Neo-impressionists tried to make impressionism more precise in form; they favored the technique of pointillism or divisionism, the application of dots or tiny strokes of color elements to a surface so that, when seen from a distance, the dots or strokes blend luminously together.

新印象派尝试让印象主义更具象化精确化，他们热衷于点绘法和分组法的绘画技巧，应用色彩中的大量的点或者细密的线条以便表现平面的元素。当保持一段距离时，这些点或者线条混合在一起形象变得具体清晰。

Fauvism can be classified as an extreme development of Van Gogh 's Post-Impressionism fused with the pointillism of Seurat [ 2 ] and other Neo-Impressionist painters, in particular Paul Signac .

野兽派可划分为一个极端的发展，凡高的后印象主义与融合在描的塞拉特 [2]和其他新印象派画家，尤其是保罗罗希涅克。

At the end of the 19th century to the beginning of the 20th century,one kind of new music genre --impressionism music emerged.

19世纪末、20世纪初，一种新的音乐流派——印象主义音乐兴起。

Impressionism is a new artistic style that arose Paris , Europe culture center, in the late 19th century.

印象主义音乐的形成及其特征印象主义是 19世纪末在巴黎萌生的一种新艺术风格。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Pointillism Neo-impressionism characterized by the use of tiny, closely spaced dots or points of color that blend to produce a luminous quality.

新印象主义画法，用微小、密集的彩色点混合后产生一种夺目的效果。

The essay tries to probe into internal source of the appearance and development of the movement of Impressionism by analyse the artistical features of traditional painting and analysing the artistical features of Impressionism, Neo-impressionism and Post-impressionism ,to show how the impressionism has developed step by step from the traditional descriptive art whose feature is to emphasizing the natural characteristic of art and the feeling of artist, and to realize that the stage which comes from tradition to morden in history of art never be overlooked.

本文试图通过分析传统绘画的艺术特色，探寻印象主义运动产生及其发展的内在根源；通过分析印象派、新印象派和后印象派的艺术特色来展示印象主义如何从以再现客观世界为特点的传统写实绘画逐步发展到具有现代特征的注重绘画本体特性和艺术家个体主观感受的这一转变过程，从而重新认识印象主义这样一个由传统走向现代的艺术史上不可或缺的一段历史。

Neo-impre ionism characterized by the use of tiny, closely aced dots or points of color that blend to produce a luminous quality.

新印象主义画法，用微小、密集的彩色点混合后产生一种夺目的效果。

Then we should re-explain art.

文章把现代主义艺术的抽象化进程作为第一部分：印象主义的崛起，后印象主义，现代主义的发展，这是一个艺术逐渐抽象的过程；杜尚以后的艺术作为第二部分：杜尚与达达主义，超现实主义，装置与新达达主义，波普艺术，从极少艺术到观念艺术，新具象艺术，这是一个以具象形式对抽象主义的反拨。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。