新艺术主义

This paper mainly reviews Apollinaire as a spiritual leader of the poets of the new generation in France in the 20th century and a peak in French new poetic form. It also affirms him as a historic character in international literary circles in the 20th century who intented the past and ushered in the future. Through the reform of artistic form and content initiated by him in his cubist and futurist art-creating program, it expounds Apollinaire's important position and active contribution to the 20th contury...

本文主要评介阿波里奈尔作为法国20世纪初新一代诗人的精神领袖、法国新诗体的一座高峰，在20世纪国际文坛上承前启后的历史性角色，并通过他在立体未来主义艺术创作纲领中所倡导的艺术形式和内容的革新，论述阿波里奈尔的艺术思想和美学思想在20世纪文学运动中的重要地位和积极贡献。

American Pop was born in the 1960s, with the emergence of international masters like Andy Warhol, James Rosenquist and Roy Lichtenstein. Andy Warhol has had a tremendous influence on the development of Chinese art. Performance art emerged in the 1970s as well as Nam June Paik's video art and Christo and Jeanne-Claude's installation art. Sigmar Polke and Gerhard Richter were among the leaders of the Post Modern movement, which also flourished in the 1970s. Among them, Richter has had the most significant impact on Chinese art. New Expressionism emerged in the United States during the 1980s with artists such as Keith Haring, installation artist Ann Hamilton, and Cindy Sherman whose work is somewhat derived from New Expressionism.

进入50年代又出现了格林伯格画派、形式主义绘画，以及具象复活等等。50年代后期出现了新现实主义画派，以及为心灵而创作的博伊斯。60年代美国波普艺术诞生，出现了安迪·沃霍、罗森奎斯特、利希滕斯坦这样的世界级大师人物，其中安迪·沃霍对中国的影响最大。70年代出现身体艺术、行为艺术、白南准的电子艺术、克里斯托和珍妮—克劳德的包裹艺术，以及以波尔克、里希特、巴尔德萨利的后现代主义，其中里希特在中国影响巨大。80年代出现了美国新表现主义如基斯·哈林，装置如汉密尔顿，以及辛迪·舍曼的挪用。

As a pioneer of Chinese Conceptual Art, Gu Dexin played a significant role in the early conceptualist "New Analysts Group". Since his 1989 participation in "Les Magiciens de la Terre" at Center Georges Pompidou in Paris, Gu has been included in several major national and international exhibitions.

作为中国观念艺术的先驱，顾德新是早期概念主义团体"新刻度小组"的重要成员，早在1989年就是巴黎蓬皮杜艺术中心"大地魔术师"国际大展的参展艺术家，历年来参加过国内外多个重要艺术展览。

Dutch painter whose works, characterized by intersecting perpendicular lines and planes of primary colors, and writings, notably Neoplasticism(1920), profoundly influenced the development of abstract art.

蒙得里安，皮特1872－1944荷兰画家，作品以交错的三原色为''。'基色'。''的垂直线条和平面为特点，他的著作包括新造型主义（1920年），对抽象艺术的发展曾经产生很深影响

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。

Hence, New Modernism can be abstracted into a re-creation for the culture, art and nature.

所以新都市主义可以抽象为文化、艺术、自然的再创造。

The swift and violent development of the modern science and technology makes western societies generally enter consumption society, The consumption society supports the goods going to aesthetic and aesthetic going to goods at the same time,all of this has created unprecedented democratic era of arts and aesthetics, on the other hand even enable the most important aesthetic target --Art ,suffering all kinds of economical bulling and losing elite characters and self-disciplining,especially because consumerism stresses the artistic works whether having symbol value ,whether using marketing technology,and whether concerning to economy reciprocate.The pop art have became the mainstream of the art form of our time.

现代科学技术的迅猛发展使西方社会普遍进入消费社会，消费社会同时支持商品的审美化与审美的商品化，这一方面创造了前所未有的艺术、审美之民主时代，另一方面也使最重要的审美对象——艺术，受尽经济霸权主义的欺凌而丧失了精英性与自律性，特别是消费主义讲究艺术商品对符号价值的追求、对营销技术的使用、对经济回报的关注，使得流行艺术成为时代艺术形式之主流，从前那个只关心艺术作品之艺术性的美学传统已经被既关注艺术性又关注消费性的&新美学原则&代替。

On reflection of new trends in art, the artist retains a vigilant stance, while appreciative of new initiatives; he espouses a philosophical opinion which laments, if not refute, the crass materialism which now inundates the sphere of contemporary art.

在艺术新趋势的沉思上，艺术家保留了其警惕的立场，同时，对艺术新的主动精神具有一定的鉴赏力。他对自己拒绝接受而如今在当代艺术领域内四处泛滥的愚蠢的物质主义持有痛惜这一哲学观点。

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。

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。