美术史的形状系列讲座
主讲
Faya Causey
（华盛顿国立美术馆）
第一讲
一座现代主义文人的园林？——
重读贝聿铭设计的华盛顿国立美术馆东馆
（A Modernist Scholar’s Garden in Washington?
A Re-reading of I.M. Pei’s East Building）
时间：9月19日（周三）下午2:00—4:00
主持：孔令伟 教授
第二讲
塞尚笔下的普罗旺斯风景
（Cézanne’s Landscapes of Provence）
时间：9月21日（周五）下午2:00—4:00
主持：孔令伟 教授
地点
贡布里希图书室
（南山校区1A305）
主办
中国美术学院艺术人文学院
讲者简介
Faya Causey
于加州大学圣塔芭芭拉分校取得博士、硕士学位。1994年起任职于华盛顿国立美术馆，2001年起出任学术项目部教育处负责人。盖蒂研究中心2017-2018年度研究学者，中国美术学院贡布里希学者，富布莱特学者。
讲座简介
第一讲：
一座现代主义文人的园林？——重读贝聿铭设计的华盛顿国立美术馆东馆
（A Modernist Scholar’s Garden in Washington? A Re-reading of I.M. Pei’s East Building）
2018 marks the 40th anniversary of the opening of the East Building of the National Gallery of Art in Washington DC and the 101st birthday of the architect, I.M. Pei. His 100th birthday and the recent updating of the East Building (according to the original intentions of Pei) were the occasions for new research on the celebrated architect and reissues of previous interviews, panels, conversations and documentaries. These last years have also seen many new scholarly critical studies of Pei, of West-East and East-West discourse, and of new assessments of pre-and post-World War II Bauhaus and other modernist public buildings. This talk will make the case for considering the East Building as a modernist Chinese scholar’s garden on the basis of the existing building, the original ideas and evolution of the plans, his unrealized design for the Shanghai Art Museum (1946) and a few comments by Pei himself made after the 1978 East Building opening. This talk will emphasize the importance of his childhood experiences in Suzhou and Shanghai and his ‘deep knowledge’, even unconscious absorption, of the structures, materials, and spaces of what might be called Pei’s China. It will be underlined that how personal and individual was his absorption of the professional training, curriculum and mentorship of the Graduate Design School, Harvard remained with him throughout his career. It will also be suggested that Pei’s responses to the National Gallery of Art commission and to the chosen site (he was instrumental in choosing the plot from among the options available) derived from his ‘deep memory.’
2018年是华盛顿国立美术馆东馆开放的第40年头，也是建筑师贝聿铭先生诞辰101周年。他的诞辰100周年以及近期按照贝聿铭原始计划针对东馆的更新都为新的研究提供了契机。近年来，也涌现出了许多新的针对贝聿铭、东西方话语以及二战前后包豪斯及其他现代主义公共建筑评估的学术研究。本次讲座将从国立美术馆东馆现有建筑、贝聿铭先生原始规划和后期演变、他的未实现的上海博物馆(1946)设计以及他本人在1978年东馆向公众开放后所作的一些评论出发，探讨东馆这座现代主义文人的园林。课上还将强调他早年在苏州和上海童年经历的重要性，以及他对长三角地区建筑的结构、材料和空间知识深入、甚至是无意识地吸收与掌握。他在哈佛大学就读建筑学的经历也对他之后整个事业产生了巨大影响。讲座也会指出贝聿铭先生面对国立美术馆委员会和建筑选址(他在美术馆选址方面发挥了重要作用)时的回应可能源自他早年的“深刻记忆”。
第二讲：
塞尚笔下的普罗旺斯风景（Cézanne’s Landscapes of Provence）
This paper suggests some different ways of approaching and assessing the painted and drawn Provençal landscapes by Paul Cézanne, the ‘Father of Modern Art.’ Beginning with Cézanne’s education, the audience will be reminded that Cézanne was a top student in the ancient Classics at the Collège Bourbon. He not only could translate superbly from Greek and Latin, he could also compose in the style of ancient authors. He knew the history and the geography of the pays d’Aix—all of the history of inhabitation from prehistoric times through to the present. Moreover, he had learned the latest theories of the geology of the region with his friend Marion, later an important scientist who went on to become the director of the Natural History Museum, Marseilles. The audience will be presented with different lenses for greater appreciation of the Maître d’Aix. Cézanne’s landscapes can be read geomorphologically as palimpsests or ‘time-maps,’ as ‘Nature’ in the Rousseau-ian sense, as ancient Greek topographia.Can something also be learned about Cézanne’s compositions if they are seen through the eyes of connoisseurs and scholars of traditional Chinese landscape painting?
本次讲座将针对“现代艺术之父”塞尚绘制的普罗旺斯风景画提出一些不同的解读方法。首先将向学生们介绍塞尚的教育背景，他在求学早期就已是班上的优秀学生，不仅能出色地翻译希腊语和拉丁语，而且还能用古代作家的风格作曲。他熟知普罗旺斯埃克斯地区从史前至今的历史和地理情况。此外，他还和他的朋友马里恩一起学习了该地区最新的地质学理论，后者后来成为一名重要的科学家，也是马赛自然历史博物馆的馆长。学生们将会从不同的角度更好地欣赏埃克斯。塞尚的作品可以从地形学的角度来重新解读，那么如果从中国传统山水画的学者和鉴赏家的视角来看，又会有什么新的见解呢？
（本次讲座无现场翻译）
