丛书名： 艺术设计名家特色精品课程
作者： 张坚
页数： 252
出版日期： 2014.04
定价： 38元
书号： 978-7-5322-8880-9

编辑推荐
1）读者能够在较宽阔和牢固的历史基点上，深化对现代美术视觉创造成就的切实感和体悟。
2）该书是一本针对国内高等艺术和设计院校及综合性大学本科美术史课程教学要求编撰的教材，也可以作为一般美术史论爱好者步入西方现代美术世界的桥梁。

内容简介
本书以西方现代美术发展四个主要历史阶段为纲，全面和清晰地勾画了19世纪中晚期至20世纪90年代西方现代美术发展纷繁多样的历史图景，其总体目标在于使读者能在较为宽阔和牢固的历史基点，深化对现代美术视觉创造成就的切实感知和体悟。本书是一本针对国内高等艺术和设计学院及综合性大学本科美术史课程教学要求编写的教材，可以作为一般美术史论爱好者步入西方现代美术世界的桥梁。

作者简介
张坚，中国美术学院艺术人文学院教授，博士，副院长，美术史系主任，1995年毕业于浙江美术学院美术史论系，获文学硕士学位，2002年毕业于中国美术学院美术史论系，获文学博士学位，1998－1999年，获希腊船王Alexander S Onasis古典艺术与文化研究基金资助，在雅典大学从事艺术史研究工作，近年发表的主要学术成果有：《视觉形式的生命》（专著），《哥特形式论》（译著），《伦勃朗、哈尔斯、维米尔》、《马奈、莫奈、雷诺阿》、《康定斯基与马尔克》等，主要论文有《艺术意志：传承与变革——沃林格尔与李格尔》、《沃林格尔与哥特艺术的形式问题》、《作为认识活动的视觉形式创造——康拉德·费德勒与近代德意志艺术史科学》、《风格史：文化“普遍史”的隐喻》、《德意志“历史主义”与形式的“艺术史科学”》等。

目录

一、绪论·············································· 1
1.前卫英雄崇拜·······································1
2.崛起之道···········································3
3.反叛与革命·········································6
4.现代与后现代·······································8
5.学术景观··········································11
二、现代美术前奏：从写实主义到印象派·················19
1.现代美术的源泉····································19
1）《草地上的午餐》·································19
2）再现的僵化·····································20
3）古典形式感·····································22
4）浪漫情怀·······································23
2.视觉真实：写实主义·································25
1）摄影与视觉真实·································25
2）写实主义的不同类型·····························29
3）印象派：视觉、时间和色彩·······················37
3.19世纪晚期的印象派、后印象派和象征主义············47
1）后印象派：表现性·······························47
2）象征主义：想象力·······························56
3）“新艺术”的风潮································62
三、20世纪早期现代美术·······························69
1.现代美术与现代社会································69
1）现代变革·······································69
2）现代化、殖民主义和战争·························70
3）科学技术浪潮···································71
2.表现主义··········································74
1）法国：野兽派···································74
2）德国和奥地利：表现主义·························79
3.立体主义和未来主义································93
1）毕加索和勃拉克·································94
2）分析立体主义···································96
3）拼贴和综合立体主义·····························98
4）纯粹主义和奥尔菲斯主义························102
5）未来主义······································105
4.形式与抽象········································109
1）几何形式主义··································109
2）有机形式主义··································117
5.达达和超现实主义·································122
1）达达··········································122
2）超现实主义····································128
6.现实主义与革命····································141
1）摄影、绘画与社会现实··························141
2）革命、战争和艺术······························145
7.早期现代建筑：功能、技术与形式···················149
1）工业革命与现代建筑····························149
2）沙利文与芝加哥学派····························152
3）赖特与新建筑··································153
4）风格派········································155
5）装饰艺术······································156
6）格罗皮乌斯与包豪斯····························157
7）柯布西埃与国际风格····························160
四、20世纪中期现代美术······························163
1.欧洲衰落与英国崛起:文化问题·······················163
2.战后欧洲:表现主义·································167
3.美国:抽象表现主义·································172
1) 纽约画派·······································172
2) 色域抽象·······································179
3) 欧普艺术·······································183
4.新达达、装置、极少主义和观念艺术··················184
1）新达达和装置艺术·······························184
2）抽象和极少主义·································189
3）大地和场景艺术·································192
五、20世纪晚期现代与后现代艺术·······················196
1.波普与后现代艺术潮流······························196
2.后现代艺术：多元与混杂····························206
1）超级写实主义···································207
2）激浪派、意大利“贫困艺术”······················209
3）偶发与演示艺术·································213
4）概念艺术和女性主义艺术·························215
5）新表现主义·····································219
6）影像的冲击·····································223
7）视频和数字艺术的新空间·························226
3.20世纪中晚期现代和后现代建筑······················228
1）形式主义：延续与转型···························228
2）后现代主义与解构·······························231
参考书目··············································236
后记··················································238