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所在平台: Udemy |
课程主页: https://www.udemy.com/course/royalty-and-revolution-in-french-painting/
课程评论：没有评论
课程名称：法国绘画中的王权与革命 课程概述：本课程涵盖了法国十八世纪的历史，从亨利四世时代的巴洛克辉煌，到摄政时期贵族对洛可可风格的接受。该世纪的重大历史事件围绕第三等级的变化展开，这个群体在法国既不属于王室，也不属于贵族或 clergy；在十八世纪末，法国农民的起义和绝对主义波旁王朝的废除，彻底改变了西欧及其他地区的政治历史。课程中，我们看到第三等级的形象如何反映出不断变化的社会态度；从精英阶层对于沉默、无名的农民所赋予的“自然尊严”的居高临下的描绘，到资产阶级运用新古典主义的语言表达他们的英雄主义与抵抗意识，我们了解到法国十八世纪的绘画如何映射出同一时期社会和政治的重要发展。从十七世纪末到十九世纪初，我们观察到各类风格体现了这一时期动荡的政治与社会历史。课程开始时我们置身于路易十四时代的法国巴洛克辉煌，其后在摄政期间，我们见证了精英品味在洛可可艺术中的欢愉表现。这些作品如华托、布歇和弗拉戈纳尔的画作，充分代表了佛罗伦萨贵族的轻浮与自我满足。在此背景下，“自然”艺术的出现，源于十七世纪末对荷兰风俗画的解读，但其所附带的居高临下的气息则与其北方的模型有所不同，成为绘画历史中民众反抗的一种表现。这一决定性的时刻，西方文明的政治历史中出现的艺术，见证了不受欢迎的统治阶级的最高艺术如何转变为古典化的、呼应民众意图夺回尊严的英雄集结号，这种想法源于诸如卢梭、笛卡尔、伏尔泰等启蒙时代思想家的作品。 总之，本课程呈现了法国绘画如何随社会和政治的变革而演变，并揭示了艺术如何成为历史重大转折点的见证。
This course draws a wide arc of history through the eighteenth century in France, spanning from the Baroque splendor of the monarchy through the aristocracy's embrace of the Rococo style during the Regency period. However, the major historical events of that century hinge on the changing place of the Third Estate, the large population in France that belonged to neither royalty, aristocracy, nor clergy; the uprising of French peasants at the close of the eighteenth century and the deposition of the absolutist Bourbon monarchy transformed the political history of Western Europe and beyond. Images of this Third Estate also reflect shifting attitudes; from the patronizing, "natural dignity" imbued into images of silent, anonymous peasantry for French elites with a taste for northern genre scenes to the appropriation of a Neoclassical vocabulary by the bourgeoisie to express their ideals of heroism and resistance, we see in this course how French painting in the eighteenth century mirrored the significant social and political developments of the same century. From the late seventeenth through the turn of the nineteenth century in France, we see a varied arc of styles reflect the turbulent political and social history of the era. We start our course firmly in the French Baroque splendor of Louis XIV, but after his death during the Regency, we see elite taste let its hair down in the sensual frolics of the Rococo. What style could be more emblematic for the frivolous, self-gratifying pursuits of the aristocracy in Florence than the canvases by Watteau, Boucher, and Fragonard that we have just looked at? In that context, the appearance of "Natural" art, sourced in the late seventeenth century's interpretation of Dutch genre scenes but with a patronizing air absent in its Northern models, becomes for the history of painting a symptom of the popular backlash which would explode at the close of the eighteenth century. During that defining moment for the course of Western civilization's political history, we witness in art the highest art of the unpopular ruling class transition into the Classicizing, heroic rallying cries for a population intent on reclaiming the vestiges of dignity it had glimpsed through the writings of French thinkers like Rousseau, Descartes, Voltaire, and the other beacons of the Enlightenment Era.
