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走向現代—英國美術三百年 來自英國西北部的公共藝術收藏

2012年9月21日 至 11月04日, 湖南省博物館

2012年11月15日 至 12月23日, 中華世紀壇世界藝術館

2012年12月31日 至 2012年3月3日, 遼寧省博物館

2013年3月14日 至 4月21日, 江西省博物館

2013年4月30日 至 6月14日, 廣東省美術館

2013年6月25日 至 8月9日, 河南博物院

這批作品是一筆由英國藝術家創(chuàng)造的非凡財富，藏于曼徹斯特及鄰近城市的博物館與美術館之中。由于工業(yè)革命的巨大影響，此地區(qū)的藝術發(fā)展呈現出一派繁榮景象，這使得富有的制造商與商人們能夠資助支持藝術家的創(chuàng)作，同時他們也能大量收藏優(yōu)秀作品。

許多藝術家都將自己的作品遺贈給了大曼徹斯特郡下各個城鎮(zhèn)的公共美術館。同時，英格蘭西北部的博物館和美術館也購入了歷史名作和當代畫作，增加了自身館藏量。此次《走向現代——英國美術三百年》將展示這批豐富的藝術文化遺產，這不僅來自于英格蘭西北部人民的精心收藏與資助，同時也是各個機構自發(fā)收藏的成果。此次展覽還將頌揚當地人民的開放思想、自由精神以及他們堅定的信念，堅信藝術具有普世意義，能夠造福于全人類。

雖然不同的美術館和博物館收藏的展品都具有各自的獨特屬性、各有優(yōu)劣，但通過對大曼徹斯特公共藏品中所有類型的繪畫風格和特點的梳理，此次展覽將對18世紀中期到今日的英國繪畫發(fā)展情況進行全方位綜合性考察。展覽既會展示先鋒派畫作，又會展示傳統繪畫作品；既囊括了主流藝術畫作，又囊括了反叛傳統的藝術作品。展覽也將網羅不同的繪畫流派，從傳統的歷史和宗教主題，到肖像畫和風景畫(這是英國藝術中最為熟悉的兩大類型)， 再到捕捉普通英國人日常生活片段的“藝術白話文”。

此次展覽同樣會展示創(chuàng)作于21世紀的畫作，與200多年前的作品一同呈現于觀眾面前，從陳列的布局也能發(fā)現出不同時期作品的異同之處。本次展覽講述的藝術進化史并未有任何順暢可測的模式可循，也很少優(yōu)先歐洲的創(chuàng)作。此次展覽將展現英國藝術的獨特性與光怪陸離之風，以及復雜精致與高超非凡的固有技巧。英國藝術的復雜性與奇特性將使這場展覽具有極為豐富的可觀賞性，為觀眾帶來最激動人心的體驗。

Toward Modernity: Three Centuries of British Art

21 September to 4 November 2012, Hunan Provincial Museum

15 November to 23 December 2012, Beijing World Art Museum

31 December 2012 to 3 March 2013, Liaoning Provincial Museum

An extraordinary wealth of works by British artists exists in the museums and galleries of Manchester and neighbouring cities. The great prosperity that has existed in the region, a consequence in large part of the Industrial Revolution which established there in the late eighteenth century, led to the patronage of artists and the forming of magnificent collections by wealthy manufacturers and business people. In many cases, these individuals have in turn bequeathed works to the public galleries that were founded in the towns and cities that cluster together to form the larger Manchester conurbation. At the same time, the museums of the North West of England have themselves bought historical and contemporary works, thus augmenting their founding collections. The exhibition, ‘Toward Modernity: Three Centuries of British Art’, will draw on the great richness of art that is the legacy of collecting and patronage by the men and women of the North West and the programmes of acquisition by the institutions themselves and will be a celebration, both of their open-mindedness and the liberal spirit that exists throughout the region, and of their belief that art has a universal meaning and is of great benefit to all people.

Although each of the galleries and museums from which works will come has an individual character and particular strengths and lacunae, by drawing on the entire spectrum of styles and specialisations represented within the public collections in Greater Manchester the exhibition will be in a position to construct a comprehensive survey of the development of British painting from the mid-eighteenth century to the present day. This will take account of the polarities of the avant-garde and an art produced for an establishment, by including works that represent an artistic mainstream and others that demonstrate a rejection of convention. It will include examples of different genres of painting and drawing, from the grand tradition of history and religious subjects, to portraiture and landscape (two of the most familiar staples of British art), to paintings and drawings which will offer glimpses of the actualities of everyday life for Britons of every kind and which form a kind of artistic vernacular. It will likewise show works made in the twenty-first century in conjunction with paintings and drawings which are more than two centuries old, and across the range of exhibits patterns of consistency and of divergence will be explored. The exhibition will tell the story of an artistic evolution which hardly at all follows a smooth or predictable pattern and which only on rare occasions shows a dependence on European precedence or practice. It will celebrate the individuality and eccentricity of British art as well as its sophistication and extraordinary levels of intrinsic skill.

It is the complexity and eccentric variety of British art which will make this exhibition rich and rewarding to look at, and which will offer most exciting surprises. In Britain, because no academic system of artistic education has ever been properly established, painters have enjoyed an unexampled liberty to express their own particular creative bents without untoward concern about the wider expectation of taste or artistic utility. Individuals who have sought to reform the practice of art in this country have usually done so from a position of artistic non-conformism or personal idiosyncrasy – one thinks for example of the drawings of William Blake, or the early experimental works of the Pre-Raphaelites, or the uniquely visionary canvases of Stanley Spencer – and, although the consequence may be an overall artistic development that is confusing and complicated to explain, nonetheless it is one which is fabulously characterful and distinct. In this sense, painting and drawing offer a fascinating parallel to the wider intellectual, cultural and also the political life of the nation; for this was a period during which Britain emerged as a modern nation, not by outright revolution, but by the impassioned lead of remarkable and idiosyncratic individuals, often themselves non-conformists in the religious or political sense, who drove forward change on the part of the population as a whole. This was especially true in Manchester, where in the nineteenth century was established a new and progressive school of economists and in which city was fostered a political alternative to the London-based conservative hegemony.

This is an exhibition which will demonstrate the creativity and imagination of generations of British artists, and which will offer insights into the mentality and self-perception of people in this country which will be of great interest to audiences abroad.

（來源：英國使館文化教育處，編輯 Helen）