POST-IMPRESSIONISM,SYMBOLISM,AND ARTNOUVEAU后印象主义、象征主义和新艺术PAINTING Post-Impressionism绘画后印象主义In1882,just before his death,Manet was made a chevalier of the Legion of Honor by the French government.This event marks the turn of the tide: Impressionism had gained wide acceptance among artists and the public—but by the same token it was no longer a pioneering movement.When the Impressionists held their last group show four years later,the future already belonged to the “Post-Impressionists.”Taken literally,this colorless label applies to all painter of significance in the1880s and1890s.In a more specific sense,it designates a group of artists who passed through an Impressionist phase but became dissatisfied with the limitations of the style and pursued a variety of directions.Because they did not share one common goal,we have no more descriptive term for them than Post-Impressionists.In any event,they were not“anti-Impressionist.”Far from trying to undo the effects of the“Manet Revolution,”they wanted to carry it further.Thus Post-Impressionism is in essence just a later stage, though a very important one,of the development that had begun in the1860s with such pictures as Manet’s Luncbeon on the Grass.1882年，就在马奈去世之前，他被法国政府授予“荣誉团勋章”。
这一事件标志着潮流的更迭：印象主义已经被艺术家和公众广泛接受——但同时它已不再是一个具有开创性的运动。
四年之后，当印象派艺术家举办最后的联展时，未来已经属于“后印象派”。
从字面上讲，这一苍白的标签适用于19世纪80至90年代所有重要的画家。
具体地说，它指向一群经历了印象派时期但又对印象派的局限性感到不满而追求不同风格的艺术家。
因为他们没有一个共同的目标，所以我们只好用“后印象派”来描述他们。
不过，他们不是“反印象派”。
他们完全没有想过去消除“马奈革命”带来的影响，而是要使之传扬下去。
因此后印象主义在本质只是一个时间稍后的阶段，但也是很重要的一个阶段。
它始于19世纪60年代，早期作品如马奈的《草地上的午餐》。
CEZANNE.Paul Cezanne(1839-1906),the oldest of thePost-Impressionists,was born in Aix-en-Provence, near the Mediterranean coast,where he formed a close friendship with the writer Emile Zola,later a champion of the Impressionists.A man of intensely emotional temperament,he came to Paris in1861imbued with enthusiasm for the Romantics.Delacroix was his first love among painters,and he never lost his admiration for him.Cezanne,however,quickly grasped the nature of the"Manet Revolution,"but utterly transformed it.A Modern Olympia(fig.983)was painted in response to an Olympica by Manet featuring a prostitute whose frank nakedness scandalized the art world.As in Luncheon on the Grass,executed by Manet the same year as the Olympia,Cezanne's nude is in the company of a man wearing contemporary garb;his features are plainly those of Cezanne himself(see fig.984).Like many of his early works,A Modern Olympia is塞尚.保罗•塞尚(1839-1906),最早的后印象派画家,生于普罗旺斯地区艾克斯。
在这个靠近地中海海岸的城市,他与作家埃米尔•左拉（后来成为拥护印象派的人）建立了亲密的友谊。
塞尚是一个极度感性的人,1861年他来到了巴黎，满心向往浪漫主义。
德拉克洛瓦是塞尚最初喜爱的画家，此人一直令他很钦佩。
然而,塞尚很快抓住了“马奈革命”的本质,但又彻底改变了它。
《现代奥林匹亚》(图983)的创作是对马奈的《奥林匹亚》作出的响应。
马奈以妓女为题材，画中女子毫不掩饰的裸体使艺术界蒙羞。
在创作《奥林匹亚》的同一年，马奈创作了《草地上的午餐》。
和《草地上的午餐》一样,塞尚画中的裸女旁边陪着一个男人，身着当代的服饰；他的体貌特征显然是塞尚自己的sexually charged,albeit in a curiously ambivalent way that suggests why he never formed a durable relationship.While the setting is a boudoir,the picture is one of the first to treat what was to become one of the recurring themes in modern art:the artist and his model,a subject often fraught with erotic overtones. He sits in mute adoration of the young woman,whose sumptuous surroundings suggest that she is indeed a modern goddess.Yet the juxtaposition of the two figures is strange indeed.Although separated in space, they are placed so near each other on the picture plane that she seems almost to recoil from his dark presence! Equally disturbing is the brushwork,which communicates the turbulent passion repressed by the seemingly impassive artist.Never before have we seen such brusqueness,not even in Cezanne's ideal, Delacroix.The subtitle The Pasha pays homage to the Orientalism of Delacroix,whose Odalisque(fig.889) nevertheless has a sensuousness absent from Cezanne's Olympia.This artist-as-potentate can admire,but not possess,his"harem girl."(见图984)。
跟他的许多早期作品一样,《现代奥林匹亚》充斥着色情,但又以一种异常飘忽的方式暗示他为什么从来不和女人长久保持关系。
画中背景是一个闺房,而此画则是最早以“画家和他的模特”为题的作品之一。
此后，这一主题在现代艺术中反复出现，常常充斥着色情的意味。
画中男子端坐着，静静地欣赏年轻的女子,其奢华的环境表明,她的确是一个摩登女神。
然而,两个人物的位置关系却很奇怪。
虽然在空间上是分开的,但在投影面上他们靠得很近,看上去她几乎被他的黑影掩盖了。
同样困扰人们的还有其画法,因为它既传达出一种狂躁的情欲，却又被这个看似冷漠的画家压制着。
此前我们从未见过这般“无厘头”，即使在塞尚崇拜的画家德拉克洛瓦的画中也没见过。
副标题《帕夏》是向德拉克洛瓦的东方主义致以崇高的敬意。
然而，德拉克洛瓦的《大宫女》(图889)具有一种感性，这在塞尚的《奥林匹亚》中却不存在。
这个“主宰一切”的画家能欣赏他的“后宫嫔妃”,但却不能拥有她。
After passing through this Neo-Baroque phase, Cezanne began to paint bright outdoor scenes with Pissarro,but he never shared his fellow Impressionists' interest in"slice-of-life"subjects,in movement and change.About1879,when he painted the Self-Portrait in figure984,he had decided"to make of Impressionism something solid and durable,like the art of the museums."His Romantic impulsiveness of the1860s has now given way to a patient,disciplined search for harmony of form and color.Every brushstroke is like a building block,firmly placed within the pictorial architecture,which creates a subtle balance of"two-D"and"three-D."(Note how the pattern of wallpaper in the background frames the rounded shape of the head.)The colors,too,are deliberately controlled so as to produce"chords"of warm and cool tones that reverberate throughout the canvas.经历了新巴洛克阶段之后，塞尚和毕沙罗开始画起了明亮的户外景观。
