2. 試申論西歐十九世紀由印象派起始的繪畫革命如何受到東方藝術的啟發?

三、申論題1. Michael Rush 在他 2005 年的著作《新媒體藝術》(New Media in Art)一書卷首開宗明義地表示： One of the characteristic perceptions of twentieth-century art was its persistent tendency to question the long tradition of painting as the privileged medium of representation. Early in the century Braque’s and Picasso’s determination to incorporate everyday material in their paintings (…) was expressive of their struggle to extend the content of the canvas beyond paint. This “struggle with the canvas” pointed the way for scores of twentieth-century artists, from the Russians Malevitch and Tatlin, to Pollock at mi-century, to a painter such as Richard Prince whose abstractions take shape in a computer before they are painted onto the canvas. Abstraction, Surrealism, and Conceptualism, to name but a few twentieth-century forms, all participated in a profound questioning of traditional painting. 請問您是否同意作者的觀點? 請發表你對這段文字的看法。

2. 試申論西歐十九世紀由印象派起始的繪畫革命如何受到東方藝術的啟發?

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