在英國(guó)文化史上，這一時(shí)期有時(shí)被稱為“鍍金時(shí)代”，與“美女時(shí)代”或“美麗時(shí)代”相對(duì)應(yīng)。在法國(guó),和類似的運(yùn)動(dòng)在美國(guó)和其他地方,我們與新藝術(shù)的優(yōu)雅和風(fēng)格,精美的拉斐爾前派藝術(shù)家的繪畫,戲劇的浪漫美麗的畫家和提高工藝、設(shè)計(jì)、文學(xué)藝術(shù)在那個(gè)時(shí)代,有丑陋的根源。 藝術(shù)、設(shè)計(jì)和文學(xué)領(lǐng)域的第一波轉(zhuǎn)變始于1860年，被稱為審美運(yùn)動(dòng)。這是對(duì)煙霧繚繞、鏗鏘作響、油浸和蒸汽籠罩著丑陋的工業(yè)革命的回應(yīng)。 這一運(yùn)動(dòng)中著名的藝術(shù)家包括弗雷德里克·萊頓、威廉·莫里斯、詹姆斯·麥克尼爾·惠斯勒、GF Watts、愛德華·伯恩-瓊斯和但丁·加布里埃爾·羅塞蒂。后兩人是前拉斐爾派兄弟會(huì)的核心成員。 他們的座右銘是“為藝術(shù)而藝術(shù)”，其最初的用法是指追求美的藝術(shù)本身，而不背負(fù)傳達(dá)社會(huì)或宗教道德的要求。這與20世紀(jì)中期的現(xiàn)代主義形成了鮮明對(duì)比。后來(lái)有人濫用這個(gè)詞，堅(jiān)持認(rèn)為藝術(shù)必須不含任何文學(xué)或故事成分。 位于倫敦的維多利亞和艾伯特博物館正在舉辦一場(chǎng)名為“美的狂熱:1860-1900年的美學(xué)運(yùn)動(dòng)”的展覽來(lái)慶祝這一運(yùn)動(dòng)，展覽將持續(xù)到2011年7月17日。 博物館的網(wǎng)站上有這次展覽的一些作品?！缎l(wèi)報(bào)》上有一篇文章和一些圖片的幻燈片，《獨(dú)立報(bào)》上有另一篇文章和一些圖片。 此外，《每日電訊報(bào)》刊登了一篇文章和一段對(duì)策展人的視頻采訪，其中包括對(duì)展覽空間的一些介紹。 V&A博物館也有一篇文章是關(guān)于設(shè)計(jì)和舉辦展覽，創(chuàng)造對(duì)美的崇拜。
That period in British cultural history that is sometimes called the “Gilded Age”, corresponding to the “Belle Époque”, or the “beautiful era” in France, and similar movements in America and elsewhere that we associate with the grace and style of Art Nouveau, the exquisite paintings of the Pre-Raphaelites, the drama of the romantic painters and the exaltation of beauty in craft, design, literature and art during that era, actually had its roots in ugliness. The first wave of this shift in art, design and literature began in the 1860’s and was dubbed the “Aesthetic Movement”. It was a response to the sooty, clanking, oil soaked and steam shrouded ugliness of the industrial revolution. Notable artists in this movement included Frederic Leighton, William Morris, James McNeill Whistler, GF Watts, Edward Byrne-Jones and Dante Gabriel Rossetti. The latter two were core members of the Pre-Raphaelite Brotherhood. Their motto was “Art for Art’s sake”, in its original usage meaning art that was in pursuit of beauty itself and not burdened with requirements to convey social or religious morals. This is in contrast to the mid 20th Century Modernists’ later abuse of the term to insist art must be devoid of any literary or storytelling component. The Victoria and Albert Museum in London is celebrating the movement with an exhibition titled The Cult of Beauty: The Aesthetic Movement 1860-1900, that is on display until 17 July, 2011. The museum’s website has a display of a few of the pieces from the show. There is an article and slideshow of additional images on The Guardian, and another review with a smaller selection of images on The Independent. In addition, the Telegraph has an article and a video interview with the curator that includes a bit of a walk-through of the exhibition space. The V&A Museum also has an article on designing and staging the exhibition, Creating the Cult Of Beauty. For more, see my related posts below, which contain links to additional images and resources. (Images above: George Frederic Watts, Albert Moore, Frederick Sandys, James McNeill Whistler, Frederic Leighton, Edward Burne-Jones) <
