新表现主义

以表现主义方式存在&信息时代的新表现主义建筑

Existing in expressionism : Neo-Expressionism architecture in the information era

首先，从宏观上探讨了表现主义与新表现主义油画创作之同。

The first theme is about the common things shared by the expressionism and the neo-expressionism .

本文主要讨论德国新表现主义的文化身份问题。

This article discusses the cultural identity of German New Expressionism .

德国新表现主义绘画产生的背景及其艺术风格

The Background and Artistic Style of Germany New-Expressionism Painting

德国新表现主义的四重奏

The Quartet of German Neo - expressionism

由埃罗沙里宁设计的圣路易斯大拱门，是一个新表现主义建筑的例子。

Designed by Eero Saarinen , the Saint Louis Gateway Arch is an example of Neo-expressionist architecture .

但是，新表现主义艺术家的创作，有一个相同之处，就是艺术家们重新选择绘画作为创作媒介。

But the artists have one thing in common : they chose painting as their creative medium .

最后对德国新表现主义所体现的文化身份问题的复杂性进行了简要的总结。

In the conclusion , the complexity of cultural identity represented by German New Expressionism was analyzed briefly .

第二部分阐述影响中国新表现主义油画发展的不利与有利因素。

Chapter 2 describes the advantages and disadvantages which produce a great impact on Neo-expressionism painting of China .

本文试从这些问题，就中国的新表现主义绘画作一些初步的探讨。

This paper , taking into full account these issues , delves further into the Neo-expressionism painting of China .

本文所探讨的表现主义涵盖了德国表现主义、美国抽象表现主义、德国新表现主义等诸多表现主义历史时期。

The paper includes the German Expressionism , the United States abstract expressionism , the new German Expressionism and so on .

与此同时，新表现主义油画创作又是在传承表现主义油画创作的基础上创新和发展的，因而两者又有着不可割舍的情结和渊源关系。

But the innovation of neo-expressionism was based on its inheritance of the expressionism , revealing its complex relevance to the expressionism .

第四部分从中国当下一些表现主义画家的艺术理念、画面形式等艺术语言形态入手，分析总结中国新表现主义绘画的艺术特征。

Chapter 4 , based on the artistic notion and art form of some representative painters , summarizes the artistic characteristics of Chinese Neo-expressionism painting .

本文以此问题为切入点，论证了表现主义与新表现主义油画创作的区别和联系，从而挖掘新表现主义油画创作的新意所在，以及它与表现主义油画创作的渊源关系。

In this thesis the answer to this question will ushers in the exploration of the difference and affiliation between the expressionism and the neo-expressionism .

中国新表现主义是在20世纪90年代中西方文化的交融、科技和文化的快速发展的进程中形成的一种文化现象。

The Expressionism of Chinese was formed in the 90s of 20th century when Chinese and western cultures , sciences and technologies were exchanged and merged rapidly .

其次，从产生的时代背景和艺术思想不同入手，论述了表现主义与新表现主义油画创作之异，进而揭示表现主义与新表现主义油画创作的本质区别，挖掘新表现主义油画创作之新意。

The second theme is to see the essential difference between the expressionism and the neo-expressionism in term of age backgrounds , art idea and art expression .

第三章是通过建构方式、画面对主观情感的表达两个方面来论述德国新表现主义绘画形式感在画面上的实现方式。

The third part is the construction mode , the screen by subjective emotional expression two discuss the new German expressionist painting forms are on the screen .

本文共分三章，第一章对德国新表现主义出现的历史原因和背景进行分析，使后文的描述与分析更有说服力。

This article is divided into three parts , the first chapter by German expressionism of historical reasons and background for analysis , so that later description and analysis of the more convincing .

本文梳理了新表现主义特别是超前卫绘画对中国艺术的影响，特别是中国当代艺术，并分析了这种表现方式的长处与不足。

This paper demonstrated the impact on Chinese art and typically Chinese contemporary art by new expressionist , especially ' Transavanguardia ' painting , and analyzed the advantages and disadvantages of this expression .

超前卫是在意大利兴起的一个后现代主义艺术流派，是西方新表现主义在意大利的称谓，它的绘画艺术特征总体来说是与西方新表现主义艺术相同的。

' Transavanguardia ' is one of the post-modernism art schools rised in Italy . It is the term of western new expressionist in Italy . Its painting characteristics is generally the same with western new expressionist .

从19世纪末到20世纪初期表现主义在西方大体上经历了四个阶段，即法国早期表现主义，德国表现主义，美国抽象表现主义和德国新表现主义。

From the late 19th century to early 20th century expressionism in the West largely through the four stages , namely , the early French Expressionism , German Expressionism , American abstract expressionism and the new German Expressionism .

表现一词首先出现在1901年在法国巴黎举办的马蒂斯画展上。而它在西方的发展，大致经历了早期的法国和德国的表现主义、美国的抽象表现主义以及德国的新表现主义几个阶段。

" Expression " first appeared in the Matisse ' art exhibition held in Paris , France , in 1901.Btu its development has experienced the earlier French and German expressionism , the American abstract expressionism and German new expressionism .

新表现主义是在传统表现主义有所继承中发展的，但由于时代的不同两者在艺术思想、题材选择以及表现形式上都有所不同。

The new expressionism is the inheritance and development of the traditional expressionism . But due to the different ages , the new expressionism and the traditional expressionism are different in art ideas , topic selecting and forms of expressions .

基弗是德国新表现主义最具代表性的画家之一，也是当今世界画坛最具影响力的艺术家之一，他在绘画、雕塑、装置艺术等领域都取得了举世瞩目的成就。

Anselm Kiefer is the most representative painter of new German expressionism in the world today , and also one of the most influential turning-point in artists of his paintings , sculptures , installation art fields have made remarkable achievements .

新表现主义是在对美国波普、观念和抽象表现主义主流艺术的反叛中产生的，它的出现，让战后欧洲艺术重新登上历史的舞台，从而改变了美国艺术一统天下的局面。

New-Expressionism came into being in the rebellion against American Pop Art , Conceptual and Abstract expressionism mainstream art . Its rising made the postwar European art remount the historical stage and put an end to the absolutely superior situation of American art .

德国新表现主义画家以观念构形开辟了新的视觉语言的探索领域，也使新表现主义油画创作突破了油画创作的传统构形模式，具有与众不同、更接近心灵的形式感。

The new German expressionist painter to concept configuration opens new Visual language of exploration areas , also makes new Expressionism painting a breakthrough in oil painting of the traditional configuration mode , has unique , closer to the heart and sense of form .

文章第二部分具体分析了文化身份在新表现主义艺术中的体现，包括采用具象语言，关注德国历史、文化和现实政治问题，取材于德国历史和神话等等。

The second part of this article deals with how the cultural identity was represented in German New Expressionism , including adopting figural language , responding to German historian , cultural , and political problems , and using motives from German history and myth , etc.

本文从德国特殊的历史环境的民族性格中的理性传统，以及新的绘画语言角度来看德国新表现主义绘画特殊的形式感。

This article from the German special historical environment of the national character of the traditional , in , and the new painting language perspective , the new German expressionist painting special sense of form .