On The Plane Expression Of The Formal Language Of Modernism Painting

One of the biggest characteristics of modernist painting language is "flatness",and in the formal language of artistic creation,"flatness" has a unique status in the epistemology of modern painting.Prior to modernism,the reproducibility of space has always been the dominant factor,and the flatness of painting has been regarded by artists as the most form factor to cover and dispel.It is also an indirect expression in the painting.In modernist painting,flattening has changed from a fringe attribute to the most characteristic main factor in painting,and has been elevated to an aesthetic angle,which has formed its own internal logic and promoted the historical process of painting.In 1961,the great critic Clement Greenberg published his representative article "Modernist Painting",which outlined a "formalist" visual paradigm,which opened up painting for flat vision.New theory of elements.Because Greenberg attributed the abstract trend of modern painting to the critique of the Enlightenment and the self-critical nature of art,the pure quality of the flatness of painting means more self-definition of itself.However,as mentioned in this article,Greenberg's planarization theory cannot represent the overall appearance of the development of modernist painting.In addition to the reductionism of painting,there is a hidden spiritual connotation that promotes the planarization of painting.This article attempts to explore the transformation of aesthetic concepts under the influence of the core of formalism through a concrete analysis of the flattening of modernist painting.Although many articles have explored the flattening features of modernist paintings before,they have not deduced the inherent logic of the flatness of formal language.In addition to Clement Greenberg,Roger Frye,Meyer Shapiro,and Michael Fred have conducted in-depth discussions on theories related to planarization,and this article draws on these artistic criticisms.And the aesthetic theory system,a systematic analysis of the development of modernist painting in a flat context.The article is discussed in four chapters.The first chapter discusses the necessity of exploring the flat development of modernist painting in the context of contemporary art,and explains its research significance and research status.The second chapter discusses the basic concepts of modernism flattening,including the inevitability of modernism flattening towards abstraction.The third chapter discusses the abstract transformation of formal language planarization,and explores the unique aesthetic meaning and spiritual connotation of planarization from different angles.The fourth chapter discusses the development and reflection of flattening after modernism,and summarizes the impact of flattened formal language on Chinese contemporary art,and the native translation that it produces.