女性凝视的震撼

【作者】 孙琬君；

【导师】 邵大箴；

【作者基本信息】 中央美术学院 ， 美术学， 2007， 博士

【副题名】马奈的“莫涵绘画”与舍曼《无题电影剧照》中的女性图像研究

【摘要】 由于马奈在奥塞博物馆中最重要的两幅作品《奥林比亚》与《草地上的午餐》皆是以莫涵为模特儿的画作，使得莫涵一直是十九世纪艺术史学者所关注的焦点。而舍曼的作品则在近三十年来被认为是艺术史中，在艺术理论分析里富含多重意义且最具影响力的作品之一。本论文透过并置且对比马奈的莫涵绘画与舍曼的《无题电影剧照》，试图探讨大众文化下的女性图像。论文的第一部分依时间的先后顺序讨论马奈以莫涵为模特儿的绘画作品，除了审视马奈在作画期间所经历的各个阶段外，也借由画作内容来了解莫涵在每个阶段可能的写实生活状况。此外，依据文献举出每幅画中写实、象征或寓意层面的含意。借由呈现舍曼在水牛城“廊墙”阶段的早期作品与创作背景，第二部分探讨舍曼在作品中的不表演态度与她对高雅艺术与低俗文化所抱持的矛盾情感。而经由描绘舍曼在曼哈顿下城区的住家兼工作室的公寓里独自创作的过程，将女性主义理论的分析角度，从作品的表面价值更生活化的转移到女性与男性在公领域与私密领域间的互动与相处关系。论文的第三部分则举出马奈作品的后现代寓意与舍曼作品中的作者身份，尝试提出艺术创作在评论家藉以用作为理论阐述依据的同时，作品的其它特质被忽略的可能性，试图打破现代作品与后现代作品壁垒分明的现象。最后分析作品中的女性凝视，探讨马奈与舍曼作品中相似的手法运用，与其借由女性的凝视来排斥观众的过程。更多还原

【Abstract】 Whereas Edouard Manet chose to paint Victorine Meurent in two of his masterpieces in the Louvre: Olympia and Le Dejeuner sur l’Herbe , she is of interest to scholars. For almost thirty years, Cindy Sherman’s Untitled Film Stills have been the favored subject of the most sophisticated and influential theoretical readings of art history.While juxtaposing and comparing Manet’s painted Meurent and Sherman’s Untitled Film Stills, this dissertation observe the female images produced under mass cultures. Through chronological reading of the painted Meurent, the first part of the thesis reviews Manet’s real life as well as Meurent’s conceivable life. Depending on pertinent literature, each painting is examined for its realistic, symbolic and allegoric meanings.Presenting Sherman’s Hallwall development, in the second part of this thesis, Sherman’s non-performance practice is discussed along with her ambivalence about both high art and low culture. Demonstrating her lower Manhattan experience working in her home, the face value feminist reading of her work turns to woman’s situation with quotidian matters in both private and public arena.In the third part of this thesis, Manet’s postmodern allegories and Sherman’s modern authorship are proposed in an attempt to obscure the line that divides modern and postmodern works. The final discussion approaches both Manet and Sherman’s similar policies which repel their audience via female gazes portrayed in their female images.更多还原