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首页> 外文会议>International Conference on Art Studies: Science, Experience, Education >Pittura Metafisica and the 'New Man' in Weimar Art of the Early 1920s
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Pittura Metafisica and the 'New Man' in Weimar Art of the Early 1920s

机译：Pittura Metafisica和20世纪20年代初的魏玛艺术中的“新人”

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The presented article deals with ideological and stylistic interrelations of Weimar art of the early 1920s with Italian metaphysical painting. The author examines in details the texts and manifestos of Italian and German artists, revealing the general theoretical views on the art of both sides. The author focuses on the image of the "new man" in German art, which originated in the context of expressionism, and received a different expression and meaning in the early 1920s. With the help of stylistic principles of pittura metafisica, as well as its main character - dummy - German artists have come up with their own version of the "new man". Berlin Dadaists and the representatives of the new objectivity leave behind the metaphysical meaning, that originally laid down in C. Carra's and G. de Chirico's mannequins, and put the "new man" in Weimar socio-political realities, thus creating an art of highly topicality.
机译：本文涉及20世纪20年代初的魏玛艺术的思想传感器的相互关系，意大利形而上学绘画。 作者在详细介绍了意大利和德国艺术家的文本和宣言，揭示了对双方艺术的一般理论观点。 作者侧重于德国艺术中的“新人”的形象，它起源于表现主义的背景，并在20世纪20年代初获得了不同的表达和意义。 在Pittura Metafisica的文体原则的帮助下，它的主角 - 假人 - 德国艺术家已经提出了自己的“新人”版本。 柏林达达主义者和新客观性的代表留下了形而上学意义，最初在C.Carra和G. de Chirico的人体模特中铺设，并将“新人”放在魏玛社会政治现实中，从而创造了高度的艺术 题址。

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