研究生: |
林慧萍 |
---|---|
論文名稱: |
齊塔伊的藝術與猶太游牧情結 |
指導教授: | 王哲雄 |
學位類別: |
碩士 Master |
系所名稱: |
美術學系 Department of Fine Arts |
論文出版年: | 2003 |
畢業學年度: | 91 |
語文別: | 中文 |
論文頁數: | 267 |
英文關鍵詞: | Walter Benjamin, Franz Kafka, Existentialism, Theodor Adorno, Erza Pound, Thomas Eilot, Readymade, Edgar Wind, Erwin Panofsky, Aby Warburg, secular Jews, anti-semitism, Diasporist, Shoah, Auschwitz Concentration Camp, Joe Singer, Germania, Holocaust, Pop Art, Christ Prater, School of London |
論文種類: | 學術論文 |
相關次數: | 點閱:280 下載:21 |
分享至: |
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
一九三二年,羅那德.布路克斯.齊塔伊(Ronald Brooks Kitaj)出生於美國俄亥俄州(Ohio)的大城克里夫蘭(Cleveland),為美裔的猶太畫家。其人生大部分的歲月都待在英國,加上猶太人的身分,使其同時生存於不同的種族血脈間,飄泊其中,交織著許多複雜的情感,就某一層觀點來說,他的藝術力量也正萌起於這些相對立的矛盾衝突中。
一位猶太藝術家如何展現他個人的民族風格與特色呢?早年的齊塔伊並不是相當清楚潛藏於個人內在的猶太人性質,直到一九七○年才進入「較有意識的猶太人時期」,在清楚的自我認識後,他更加明確地強調其藝術中的猶太主題,猶太的集體記憶隨著二次世界大戰的大屠殺,使其情感如同十字架的釘刑般愈漸沉重,更督促著他的神聖使命感,運用彩筆以留下歷史的見證。齊塔伊有意識地以倫敦為背景,將自己的繪畫藝術定位為海外的美國猶太人(Jewish-American Diasporist),並透過海外猶太人的複雜心境與心理分析,進行一系列的創作,包括奧許維茲集中營(Auschwitz Concentration Camp)、喬.辛格(Joe Singer)與德意志帝國(Germania)三項主題。
文中第一章先從藝術家的思想著手,探討卡夫卡與班傑明對其猶太身分認定上所帶來的肯定,與受到美國現代詩學的深刻影響,並涵蓋了齊塔伊一生經歷的介紹,以突顯出其漂泊歲月的猶太游牧情結。第二章則是進入齊塔伊畫作的世界,以解其晦澀難懂的藝術風格,並進行圖像的詮釋。第三章即是齊塔伊藝術中的猶太游牧情結,以了解其如何以一步步前進的方式,來親近猶太人的歷史,並展開一系列的創作,來反映出二十世紀猶太人生命的複雜詭異。在第四篇章裡,處理齊塔伊藝術的定位問題。
是故本研究之目的,在於解開齊塔伊藝術中晦澀難解的圖像之謎,經由對藝術家個人生平傳記與繪畫發展之詳盡認識,可了解到其深具猶太人的游牧情節。珍妮德.沃勒弗(Janet Wolff)的分析,認為齊塔伊猶太身分的確立時期,應集中在一九七五至八五年這十年間,然,誠如畫家本人在面對威妮.漢娜(Werner Hanak)的訪問時,回答到他個人藝術的猶太人時期,事實上是沒有終了的一天。可知,猶太身份的認定與猶太藝術的關懷,正是齊塔伊一生中所要面對的最重要課題。
西文專書
Ashbery,John.Kitaj Paintings,Drawings,Pastels,New York:Thames and Hudson, 1983.
Atkins ,Robert. Art Speak,Abbeville Press,1990.
Aulich ,James.&Lynch ,John .Ed., Critical Kitaj,Rutgers University Press,2000.
Calvocoressi, Richard.、Long, Philip. and others, From London:Bacon,Freud, Kossoff, Andrews,Auerbach,Kitaj,London:British Council in association with the Scott-
Ish National Gallery of Modern Art,1995.
Cohn-Sherbok ,Dan. Judaism,U.S.A:Calmann&King Ltd Press,1999.
Dine,Jim.&R.B.Kitaj﹐Dine Kitaj:a two man exhibition at the Cincinnati Art Museum,April 12 through May 13,1973﹐Cincinnati Art Museum Press,1973.
Hyman,Timothy. R.B.Kitaj,The Sensualist1973-84,Oslo ,Norway:Fine Art,1990.
Introduction by Schmied ,Wicland .and essays by Kitaj, R. B.Kitaj,Hanover, 1970.
Kinsman, Jane. The Prints of R B. Kitaj, Aldershot: Scolar Press, 1994.
Kampf ,Avram. Chagall to Kitaj-Jewish Experience in 20th Century Art,London:Barbican Art Gallery,1990,
Livingstone , Marco. Ed., R B. Kitaj: An American in Europe , Oslo: Astrup Fearnley Museum of Modern Art, 1998.
Livingstone, Marco. Kitaj, London : Phaidon&and New York: Thames and Hudson, 1992.
Lucie-Smith ,Edward. L’Art d’Auiourd’hui, Paris:Nathan Presse,1989.
Milchman,Alan.&Rosenberg,Alan. Ed., Postmodernism And The Holocaust,Printed in The Netherlands ,1998.
Morphet, Richard Ed., R.B.Kitaj,Tate Gallery, 1994 .
Osterwold ,Tilman. POP Art,Taschen Press,1999.
R. B. Kitaj , First Diasporist Manifesto , London&N.Y: Thames and Hudson, 1989.
R.B.Kiatj&Shannon,Joe. R.B.Kitaj, Washington,D.C.:Smithsonian Institution,1981.
R.B.Kitaj, R.B.Kitaj:Pictures With Commentary,Pictures Without Commentary,Lond
-on:Marlborough Fine Art Ltd,1963.
R.B.Kitaj, R.B.Kitaj:Fifty Drawings And Pastels,Six Oil Painting,New York: Marlbo
-rough Gallery,1979.
R.B.Kitaj, R.B.Kitaj:Pictures,New York:Marlborough Gallery,1974.
R.B.Kitaj, R.B.Kitaj:A Retrospective, London:Tate Gallery,1994.
R.B.Kitaj, R.B.Kitaj:How To Reach 67 In Jewish Art:100 Pictures,New York:Marlbor
-rough Gallery,2000.
R.B.Kitaj, R.B.Kitaj:Recent Picture,New York:Marlborough Gallery,1995.
R.B.Kitaj, Sandra /Two,New York&London:Marlborough Gallery Inc,1996.
Ríos, Julián. Kitaj:Pictures and Conversations , London: Hamish Hamilton, 1994.
Rudlof,Anthony.&Wiggins,Colin.R.B.Kitaj At The National Gallery,London:National
Gallery,2001.
Salus,Olivia Carol. Four Martyr Icons Of R.B.Kitaj:An Analysis Of Their Pictorial Narratives, Ph.D.thesis,1989.
Vernon,Kay.&Reichard ,Tony. British Prints Of The 1960s and 1970s:Art Gallery Of
New South Wales,25 August To 14 October1990,Sydeny:Art Gallery of New
SouthWales,1990.
Wilson ,Simon . Tate Gallery-An Illustrated Companion, Tate Gallery Publishing Ltd.1990.
西文期刊
Aldrich, L., “New Talent USA”, Art in America(July-August 1966), pp. 22-69.
Ashbery, J., “R.B. Kitaj at Marlborough”in 'Reviews of Exhibitions', Art in America , (May-June 1974), p. 103.
Ashbery, J., “Poetry in Motion”, New York,(16 April 1979), pp. 94 – 6.
Ashbery, J., “R.B.Kitaj: Hunger and Love”, Art in America , (January 1982), pp. 130-5.
Ashton, D., “R.B.Kitai and the Scene”, Arts and Architecture,(April 1965),pp. 8 - 9, 34 – 5.
Aulich,J., “The Twin Birthdates of Martin Luther”, Art Monthly, (October 1 985), p. 20.
Aulich,J.,“The Difficulty of Living in an Age of Cultural Decline and Spiritual Corruption: R. B. Kitaj,1965-1970”, Oxford Art journal, (1987), pp. 43-57.
Auty, G. ,“Elusive Archetype”, Spectator,(November 1990), pp. 50-1.
Ballatore, S.,“Contemporary European Painting”, Artweek, , (November 1975), pp.1, 20.
Baro, G.,“The British Scene: Hockney and Kitaj”, Arts Magazine, (May-June 1964), pp. 94- 101.
Berthoud, R.,“A Love for Pictures and an Enthusiasm for Life: Roger Berthoud Interviews R. B. Kitaj”, The Times,(May 1977), p. 8.
Blok, C.,“Holland”, Art Ititertiational, ,(Summer 1970), p. 116.
Blume, M., “Artist R. B. Kitaj's Route to Auschwitz”, International Herald Tribune, (April 1990), p. 14.
Boyle, R. J., “Paintings of the Later Twentieth Century”, Cincinnati Art Museum Bulletin, (October 1968), pp. 13-19.
Brett, G., 'Kitaj's Spectres', The Times, (April 1970), p. 7.
Brett, G.,“Artists and Printers”, The Times,(June 1970), p. 7.
Brett, G., “What is the Tradition?”, Art Monthly,(July/August 1980)38, p. 2.
Brighton, A.,“Conversations with R.B.Kitaj”, Art in America,(June 1986), pp. 98 – 105.
Bumpus, J., 'As a Man Sees', Art and Artists,(July 1980), pp. 12-15.
Burnham, J.,“Corporate Art”, Artforum,(October 1971), pp. 66 – 71.
Burr, J.,“Londoners to Liverpool' in 'Round the Galleries”, Apollo, (January 1964), pp. 85 – 7.
Burr, J., “Philosopher Painter' in 'London Galleries”, Apollo, (May 1970), pp. 393-5.
Burr, J., 'Sky and Sculpture' in 'Round the Galleries', Apollo ,(June 1977), p. 504.
Burr, J.,“A Faded Union Jack”, Apollo, (November 1980), p. 355.
Butcher, G., 'The Anatomy of Pop Art', Guardian, (June 1962), p. 6.
Butler, C., “Figure-conscious' in 'TLS Commentary”, The Times Literary Supplement, (May 1977), p. 618 .
Calas, N.,“Why not Pop Art?”, Art and Literature, ( Spring 1965), pp. 178-84.
Carrier, D.,“Morandi, Lichtenstein, Kitaj”, Artscribe,(February 1982), pp. 61-3.
Coates, R. M., “The Art Galleries: Chaos”, New Yorker,(February 1965), pp. 132-4.
Cohen, D.,“R. B. Kitaj and the Art of Return”, Jewish Quarterly, , (1988) , pp. 32-6.
Coplans, J.,“An Interview with Allen Jones”, Artforum ,(April 1965), pp. 19-21.
Cork, R.,“The Artist's Eye' in 'Report from London”, Art in America, ,(February 1981), pp. 43-55.
Cork, R., “Recovered Identity”, The Listener, (December 1985), pp. 40-1.
Creeley, R.,“Ecce homo”, Art International,(March 1979), pp. 27-30.
Crombie, T.,“Prodigal's Return: R. B. Kitai”, Apollo, (July 1979), p. 69.
Cusden, N., “Things Seen: Literary Reference in the New Figurative Painting”, The Times, (February 1963), p. 14.
Cusden, N., “John Moores Jury”, Art and Artists, (December 1969), p. 38.
Daley, J.,“Paintings of Kitaj' in 'Letters to the Editor”, The Times, (September 1975), p. 13.
Daley, J.,“R. B. Kitaj”, Arts Review, (April 1977), pp. 289-91.
Daniels, J.,“The Feminist Connexion: The Male Nude' in 'The Arts: Galleries”, The Times, (November 1 983), p. 1 1 .
Deepwell, K.and Steyn, J.,“Readings of the Jewish Artists in Late Modernism”, Art Monthly , (February 1988), pp. 6-9.
Deppner, M.,“Kitaj Kiefer”, Kunstforum International,(January-February 1991), pp. 148-65.
Derfner, P.,“New York Letter”, Art International,(April 1974), pp. 5o- 1.
Farr, D.,“The John Moores Liverpool Exhibition 3”, Burlington Magazine,, (January 1962), p. 30.
Faure Walker, J.,“R. B. Kitai Interviewed by James Faure Walker”, Artscribe, (February 1977), pp. 4-5.
Feaver, W.,“Life Class Champion”, The Observer, (May 1977), p. 25.
Frankman, N.,“Group Show' in 'Arts Reviews”, Arts Magazine, (April 1976), p. 23.
Fuller, P., “Kitaj at Christmas”, Art Monthly, (December-January 1985 -86), pp. 11 – 14.
Gablik, S., “Human Clay' in 'UK Reviews”, Studio International ,(January 1977), pp. 46- 7.
Gablik, S., “Nude Review”, The Sunday Times, (February 1977), p. 32.
Gilmour, P., “The Art Films of James Scott”'', Art and Artists,(March 1970), pp. 16 – 19.
Glazebrook, M.,“Lithographs and Original Prints. Why Do Artist Make Prints?: Answers by Printmakers to Questions put by Mark Glazebrook” ,Studio International,(June 1967), pp. 1 – 3.
Glueck, G.,“Painting: Literary Collage”, Time,(February 1965), p. 72.
Glueck, G.,“Coast Art-industry Project Blossoms”, New York Times,( April 1969), p. 54.
Gosling, N.,“The Shapes of the Sixties”, The Observer, (February 1963), p. 21.
Gosling, N.,“Two Sides to Kitaj”, The Observer, ( April 1970), p. 28.
Haftmann, W., “Kitaj's Graphics 1963-1969”, Art and Artists ,( November 1969), pp. 24-9.
Haftmann, W.,“Spotlight on Minds of Invention: R. B. Kitaj”, Vogue, (November 1969), pp. 162-3.
Harrison, J.,“Kitaj in London”, Arts Magazine , (April 1 963), pp. 26 – 7.
Henning, E. B.,“New Paintings by Four Artists from Britain”, Bulletin of the Cleveland Museum,(December 1982),pp. 310-23.
Henry, G., “R. B. Kitaj' in 'Reviews and Previews”, Art News(April 1974), p. 96.
Hicks, A., “R. B. Kitaj - A Jewish Inheritance”, Spectator, ( November 1985), p. 37.
Hodgson, S., “Notes on Kitaj”, The Listener , (May 1970), p. 628.
Hofmann, P., “35th Art Biennale Beset by Problems at Venice Opening”, New York Times,(June 1970), p. 38.
Hughes, R.,“Art - Edgy Footnotes to an Era”, Time, , (October 1981), pp. 76-7.
Hyman, T., “Kitaj: A Prodigal Returning”, Artscribe,(October 1980), pp. 37-41.
Jones, A., “Minting Prints: The Meaning of Originality in 'Letters to the Editor”, Guardian, (March 1967), p. 8 .
Judd, D.,“R. B. Kitaj' in 'In the Galleries”, Arts Magazine,, (March 1965), pp. 62-3 .
Kinsman, J.,“Book Covers for Art Lovers”, Australian and International Art Monthly, (March 1988), p. 33.
Kitaj, R. B.,“Painters Reply . . .”, Artforum, , (September 1975), pp. 26-8, 36.
Kitaj, R. B., “Chris ... A Note Apropos”, Arts Review , (August 1977), p. 506.
Kitaj, R. B.,“The Autumn of Central Paris (after Walter Benjamin) 1971”, Art International , (March 1979), pp. 19-20.
Kitaj, R. B.,“R. B. Kitaj and Two Faces of Ezra Pound”, Creative Camera, (June 1982), pp. 536-7.
Kitaj, R. B., Hamilton, R. and Hockney, D.,“Censorship of Erotic Art' in 'Letters to the Editor”, The Sunday Times, (February 1977), p. 32.
Kozloff, M.,“The Inert and the Frenetic”, Artforum,( March 1966), pp. 40-4.
Kramer, H.,“Memoir into Myth”, The Times Literary Supplement, (September 1989), p. 970.
Kuspit, D. “R.B. Kitaj - Marlborough Gallery”, Artforum ,(Summer 1986), pp. 125-6.
Langmuir, E.,“The Concert in European Art' in 'Letters [to the Editor]”, Burlington Magazine, (January 1 9 75), p. 52.
Lippard, L. R., “New York Letter”, Art International, (April 1965), pp. 48-64.
Livingstone, M.,“Iconology as a Theme in the Early Work of R. B. Kitaj”, Burlington Magazine, (July 1980), pp. 488-97.
Livingstone, M.,“Kitaj at Marlborough”, Burlington Magazine, ,( January 1986), pp.23-25.
McCorquodale, C.,“Edinburgh - Two Exhibitions”, Art International, (November 1975),pp. 26-9.
McEwen, J., “In Principle”, Spectator, (July 1980), pp. 26- 7.
McEwen, J., “Small Mercies”, Spectator, (November 1980), p. 26.
McNay, M., “Minting Prints”, Guardian, (February 1967), p. 5.
McNay, M-,“R.B.Kital in an Interview with Michael McNay”, Guardian, (May1970), p. 8.
McNay, M., “Marlborough: R. B. Kitaj”, Guapdian, (October 1980), p. 9.
Marmer, N.,“R.B. Kitaj, Los Angeles County Museum of Art”, Artforum, (October 1965), pp. 10-11.
Morris, L., “The Human Clay”, (August 1976), pp. 218-19.
Morris, L., “Popular Front”, The Listener, (May 1977), pp. 692-3.
Mullins, E.,“Other Exhibitions”, Apollo,( March 1963), pp. 230-1.
Newton, E.,“Kitaj Exhibition at the New London Gallery” , Guardian, (February1963), p. 9.
Nordland, G., “Los Angeles Newsletter”, Art International, (December 1975), pp. 29-37.
Passmore, S.,“Juxtapositions”, The Times Literary Supplement, (February 1982), p. 186.
Peppiatt, M.,“Could There Be a School of London?”, Art International, (Autumn 1987), p. 9.
Plagens, P.,“European Painting in LA: A Grab Bag of Well-worn Issues”, Artforum , (January 1976), pp. 40-4.
Plous, P.,“Heritage Renewed: Representational Drawing Today”, American Artist,(July 1983), p. 70.
Podro, M., “Some Notes on Ron Kitaj”, Art International,( March 1979), pp. 18-26.
Podro, M.,“Marco Livingstone: R.B.Kitaj' in 'Literary Compounds”, The Times Literary Supplement, ( December 1985),p. 1384.
Prater, C.,“Experiment in Screenprinting”, Studio International, (December 1967), p. 293.
Reichardt, J., “Kitaj's Drawings from Life”, Connoisseur,( October 1963), pp. 112-16.
Reichardt, T., ' "Pop art" in England in [Letter] to the Editor', Arts Magazine, (January 1963), p. 7.
Roberts, K., “Current and Forthcoming Exhibitions”, Burlington Magazine, (March 1963), pp. 135-41.
Roberts, K.,“Current and Forthcoming Exhibitions: London and Leeds”, Burlington Magazine,( June 1970),pp. 416-19.
Roberts, K., “Current and Forthcoming Exhibitions: London”, Burlington Magazine,( September 1974),pp. 547-51.
Robertson, B., “R.B.Kitaj: A Fantastic Conspiracy”, The Sunday Times Magazine, ( February 1 963), pp. 23 – 5.
Robertson, B.,“Golden Oldies”, Spectator(May 1970), pp. 594-5.
Rothenstein, M.,“A New Wave Student as Printmaker”, Studio International, (December 1967),pp. 295-6.
Russell, D., “London”, Arts Magazine,( Summer 1970), p. 53.
Russell, J.,“England: The Advantage of Being Thirty”, Art in America,( December 1963), pp. 95-6.
Russell, J., “London/NYC: The Two-way Traffic”, Art in America,( April 1965), pp. 126-36.
Russell, J. , “London: Kitaj Komedy”, Artnews(September 1967), pp. 61-72.
Russell, J. ,“Separate Directions”, The Sunday Times, (April 1970), p. 29.
Russell, J.,“Discoveries”, The Sunday Times, (May 1970), p. 32.
Russell, J. , ,“John Russell Reports from New York: Dream of Perfection”, The Sunday Times, (February 1974), p. 27.
Russell, J. ,“A British Show Built of "Human Clay” , New York Times, (September 1976), sect. 2, p. 23.
Schear, C. K., “Photomontage in the Early Work of R. B. Kitaj”, Arts Magazine , (September 1984), pp. 74-7.
Shone, R.,“London, Tate Gallery: The Hard-won Image”, Burlington Magazine,( October 1984), p. 651.
Simpson, D.,(Letters to the Editor), Artforum,( November 1975), p. 8.
Sinclair, C.,“Happy Ending in a Godless Age?”, The Times Literary Supplement, (January 1991), p. 10.
Spalding. F., “The Male Nude”, Arts Review,( November 1983), p. 649.
Tarshis, J., “San Francisco”, Artforum,( June 1971), pp. 89-92.
Tarshis, J., 'The "Fugitive Passions" of R. B. Kitaj', Artnews,( October 1976), pp. 40-3.