蒙德里安的多元主義與二十世紀初的巴黎都會

Piet Mondrian's Pluralism and Early Twentieth-Century Paris

10.6253/ntuhistory.2010.45.05

劉巧楣(Chiao-Mei Liu)

蒙德里安 ； 風格 ； 巴黎 ； 立體主義 ； 未來主義 ； 繪畫 ； 二十世紀 ； Mondrian ； De Stijl ； Paris ； Cubism ； Futurism ； Painting ； twentieth century

臺大歷史學報

45期（2010 / 06 / 01）

221 - 325

繁體中文

蒙德里安(Piet Mondrian, 1872-1944)的作品被視為抽象藝術的經典圖像，他常以垂直、水平的線條相互交錯，構成方形平面；或在菱形圖畫的外圍構成三角形，部分平面塗上三原色或黑白之間的色調，構成抽象的幾何形式組合，以他的第二階段巴黎年代(1919-1938)的作品為代表。傳記資料顯示，巴黎是蒙德里安最喜愛的創作環境之一，他努力融入巴黎生活，並且希望結合藝術與生活。然而，他如何將巴黎的都會空間與文化融入他的作品，至今仍未有深入研究。 本文論旨是蒙德里安從巴黎的藝術與生活中採用多種造型元素，特別是1912-1930年之間，發展出獨特的抽象構圖與多元主義。透過蒙德里安的繪畫與寫作，本文探討他如何結合都會文化與抽象形式：一是立體主義拼貼的影響，這種混雜媒材的作法最能代表立體主義的異質性，本文將探討蒙德里安如何轉化拼貼；二是比對二十世紀初巴黎的街景元素，特別是海報、牆面、櫥窗，來看蒙德里安的抽象藝術如何納入物質性；三是蒙德里安與前衛文學的關係，以他的寫作與圖畫詩為起點，討論他如何運用未來主義的自由詞語。本文將確立蒙德里安的多元主義，結合城市生活與藝術的複合內容。

Mondrian's body of work has been considered the classical icon of abstract art. His compositions often feature intersecting vertical and horizontal lines, or lozenge pictures with triangles on the borders, some of which are rendered with primary colors. Such styles are seen mostly in the works he did in Paris from 1919 to 1938. Biographical documents affirm that Paris was one of his favorite artistic environments, and he strove to fit into Parisian life in his effort to fuse of art and life. However, the way he integrated Parisian urban culture in his work has not been well investigated to date. This essay argues that Mondrian drew various plastic elements from contemporary art and life of Paris, particularly during the years 1912-1930, and formulated his pluralist composition. Through analyzing his paintings and writings, this essay explores how he combines urban culture and abstract form. Firstly, Mondrian transferred the heterogeneity of Cubist collage into his paintings and studio wall works. Secondly, he adopted plastic elements from the street, including posters, walls, windows and store fronts, and thereby integrated materiality in abstract painting. Thirdly, Mondrian emulated avant-garde literature, Futurist free word in particular, and transferred some of its ideas to his Tableau-poème. In contrast to the formalist theory of purism, this essay finds Mondrian to be a pluralist in his synthesis of urban art and life.

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