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  • 永草 次郎
    美学
    1995年 46 巻 2 号 1-11
    発行日: 1995/09/30
    公開日: 2017/05/22
    ジャーナル フリー
    The fantasy paintings that form the key genre in Cezanne's early years are generally taken as productions of his adolescent passion which is later superceded by his direct observatin of nature. But his inner invention in them is more difinitive factor in Cezanne's fomative method than his representation of nature. The scenes of lust and death such as L'Enlevement, Le Meutre, give the painter a process in which he identifies himself with various characters of his fantasy by transforming himself into them and becomes conscious of the painter=Cezanne, or the subject that sees and materializes his fantasy. He moves spatially in temporal literary stories, metamorphoses formatively, haunts and gazes the scene. There the subject seeing comes up to the surface from the motif of violence and death. In La Tentation de saint Antoine, its theme is not clearly represented, but literarily, psychologicaly, and formatively opposite or analogous elements face each other and make a circle that correspnds not with the linear perspective but, beyond it, wiht a formative state of picture plane as a movement which perpetually circulates and reiterates. In Le Dejeuner sur l'herbe, Cezanne himself obviously appears on the stage of picture where the characters seem to play a game of temptation and choice. Centering around its circle composition, some analoguous motives are repeated. Here painting is a game which unifies antagonism and alliance by the rule. The narrative which temporaly develops and the perspective whichi is based on the extension of straight line are dissolved by the game into a circle that always returns to and is identified with the picture plane, that is to say, the existential form of painting itself. The transformation and divertion of motives in Cezanne's fantasy painting are invented from his private sentiment, the literary refinement and the analogy of form. As the processe of them is abstracted and manifested while the narrative is ambiguous, he becomes conscious of the subject as painter and the formarity of picture plane.
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