从私密闺阁到公共空间——以1929年全国美展参展女画家群体为中心

发布时间：2018-06-05 09:37

本文选题：女画家 + 美术展览　；参考：《美术研究》2017年05期

【摘要】：中国古代艺术史上女画家较少,该现象一直持续到19世纪末20世纪初。随着近代女性解放运动和女子艺术教育的发展,女画家越来越多。她们积极参加社会活动,不断现身社会公共空间。1929年全国美展中,近百位女艺术家首次集体亮相,成为该展的一大亮点。参展者多为受过学校教育的知识女性,并拥有体面的社会职业,是经济自立的新女性。她们基本代表了20世纪二三十年代女画家的真实生存状态。另,女画家的参展作品具有明显从传统到现代的过渡特征,当然也不乏时代创新性。全国美展的权威性和公开性,一则强化了女画家对其主体身份的自我认同,同时也提高了她们在美术界的地位和影响。本文认为,美展是近代女画家走出传统私密闺阁,走向社会公共空间的重要媒介和平台之一。。
[Abstract]:There were few female painters in the history of ancient Chinese art, which lasted until the late 19 th century and the early 20 th century. With the development of modern women's liberation movement and women's art education, more and more women painters. They took an active part in social activities and constantly appeared in social public space. In the 1929 National Art Exhibition, nearly 100 female artists appeared collectively for the first time, which became one of the highlights of the exhibition. The exhibitors are mostly educated women with school education and have a decent social career. They are new women who are financially independent. They basically represent the true existence of female painters in the 1920s and 1930s. In addition, the female painters exhibit the characteristics of transition from tradition to modern, of course, there is no lack of era innovation. The authoritativeness and openness of the National Art Exhibition not only strengthen the self-identity of female painters, but also enhance their status and influence in the field of fine arts. This article holds that the art exhibition is one of the important media and platform for modern female painters to walk out of the traditional secret boudoir and move towards the social public space.
【作者单位】：河北经贸大学艺术学院;
【分类号】：J2-28

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