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摘要
摘要
This book, which covers new ground, is a study of high and low art, official and unofficial, in the Soviet Union and the West in the Cold War years, 1945-62. It is a paradox that the Soviet Union, a nation born of revolution, should have encouraged 'official' art which was conservative and conformist, whereas Western Europe, and the USA in particular, should preach traditional values, but have a high art which spoke of dissent. Other curious contradictions and parallels emerge--Soviet 'official' art was predominantly realist in style and popular with the general public, as were popular prints in the West. Both have largely been ignored by the western art establishment. It is the unofficial art of the Soviet Union and the high art of the West--for example, Rothko, Pollock, Bacon and Dubuffet--which have always attracted critical attention. Christine Lindey's pioneering study examines these paradoxes and illustrates many artists, notably those from the Soviet Union, whose work has rarely been seen in the West. As glasnost changes our perceptions of the contemporary Soviet Union, here is the first history of all aspects of art there in the postwar years, set in the political context, and comparing it with developments in art in the West.
評論 (2)
《書目》(Booklist)評論
The author compares Soviet and Western art in the period 1945-62 and comes up with a paradox. While the Soviet art establishment eschewed experimental, nonrepresentational art, unofficial artists in the Soviet Union looked to the West and identified strongly with the modern tradition. In the West, high art was almost exclusively avant-garde and abstract, and early Soviet pioneers of modernism such as Malevich--taboo in the USSR--were Western cultural heroes. Established Western artists posed, to some extent, as rebels, whereas unofficial artists in the Soviet Union in the cold war period, even up to the first half of this decade, really were. By assuming this posture, Western artists isolated themselves, ceasing to speak to people. But Lindey finds a "hidden tradition" in Western popular culture that clung to recognizable idioms from the premodern period: mass-marketed, commercial art prints. She maintains that popular prints "continued to fulfill the essential function of providing holy pictures, patriotic portraits, and escapist pictures." This contextual survey, featuring dozens of black-and-white reproductions of post-World War II Soviet art (much of it rarely seen in the West), is recommended for larger art collections. ~--Anne Schmitt
Choice 評論
This provocative and well-researched book addresses situations and questions of the post-WW II world that have long needed attention. Christine Lindey remedies the dearth of information available on the nature of modern Russian art about which all but a few dedicated professionals have only perfunctory or vaguely formulated ideas. The variety of post-1923 Russian art, an area almost totally neglected in our art history, will come as an absorbing surprise to most readers. Equally stimulating is the author's comparison with the equally neglected popular artistic tradition that has continued unabated in American homes, a taste that runs determinedly contrary to official museum art of this century. Lindey's views may cause some head-shaking and a few snorts of derision, but only among persons with closed minds. She challenges readers to reconsider stereotypes and to ponder what hangs in our modern museums and why. Definitions of official art, patronage, and the avant-garde in both Russia and the West come under scrutiny. With economy of words and a minimum of elaborate phaseology, this author gives new concepts and comparisons to ponder. Observing Lindsey deftly reverse wheels of traditional art-historical thinking makes fascinating reading. This book should be required reading in every contemporary art-history class; its concepts may be quoted for a long time to come. Valuable bibliography. -P. N. Holder, Austin Peay State University