色彩與文化：蒙德里安與戰後巴黎的「回歸秩序」論 = Color and Culture: Mondrian and the Call to Order in Postwar Paris
Resource
美術史研究集刊, 30, 279-350
Journal
國立臺灣大學美術史研究集刊
Journal Issue
30
Pages
279-350
Date Issued
2011
Date
2011-03
Author(s)
Abstract
Mondrian’s work features interwoven vertical and horizontal lines, and rectangle surfaces colored in red, yellow, black, gray or white. He promoted Neo-plastic art to be realized in material environment, and transferred content from the real world. He continuously experimented in painting the fusion of musical and architectural elements, which embodied the urban life of Paris—visual experiences of streets, posters, shop windows, and acoustic experience of new sounds and rhythms. During the decade after World War I, he confronted the cultural nationalism in Paris, formulated by Call to Order with an emphasis on classical linearity and national music. Mondrian’s theories of color and music evidently respond to the issue of cultural identity. However, the question has not been fully investigated to date. The present essay offers a pluralist analysis of his experiments in color and line during the years 1911-1930, and contemporary art criticism. The author contends that Mondrian’s postwar work is based on the determinant role of color in composition, and the correspondence between color and sound is construed in order to combine painting and musicality. He conceived organized relationships of color and sound as the new spirit of the new art of synthesis or synesthesia, balancing rder and freedom. His Parisian work is characterized by an ideal of urban planning and internationalism.
Subjects
蒙德里安、《風格》、《新精神》、巴黎、二十世紀 (Mondrian, De Stijl, L’Esprit Nouveau, Paris, Twentieth Century)
SDGs
Type
journal article
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