被遺忘的時(shí)光

或許是它之前的以維多利亞的英國(guó)為首的盛世歐洲讓人過(guò)于眩目；

或許是其過(guò)后的二戰(zhàn)更慘烈、更曠日持久和影響深遠(yuǎn)；

又或許那是一段加重我國(guó)恥辱、不愿被大家記起的歷史……

都是，或都不是，

總之，一戰(zhàn)，包括它的藝術(shù)好像被遺忘了。

但是，仍有不少真誠(chéng)的藝術(shù)家用他們的激情、才華甚至生命留住了這段歷史。

一戰(zhàn)是如此地重要，政治上承前啟后；如此地徹底，藝術(shù)上第一次全面公開(kāi)地反對(duì)傳統(tǒng)。

它不應(yīng)被遺忘。

World War I was so terrible and so 1)titanic a struggle that its memory haunts us still. No previous conflict had ever been so bloody or vast in scale， and its scars were so deep that it has been called “The Great War.”

The conflict of 1914 to 1918 changed painting forever. Before 1914， images of soldiers were recorded in a theatrical or patriotic way. Painters tended to oblige the 2)establishment， and kings， 3)kaisers， emperors and 4)tsars were often depicted as great warriors and their armies as 5)regiments of heroes. But this approach was going to be contested.

Art Historian: I think before the First World War there was a whole generation of young artists all over Europe who were challenging all the traditions that they’d 6)inherited from the 19th century. It is the great period before the First World War of the “isms.” You have cubism， expressionism， futurism， all rivaling each other， all trying to be more 7)rebellious than each other， and all trying to sort of push art in new directions.

8)Enthusiasm for the war was widespread throughout all countries， communities and classes. Artists were no exception. They thought the war would 9)purge Europe of the old order and create a more liberal world. Known as the Avant-Garde， these painters had already begun to experiment with new styles that suited the modern thinking， but the war was to accelerate this process. Young Italian painters were the most 10)ardent supporters of the war. They called themselves the Futurists.

The energy of war and new technology offered exciting possibilities. Italy wanted to liberate territory from the Austro-Hungarians. As a result， they fought on the side of 11)the Allies. In 12)Umberto Boccioni’s painting， “The Charge of the 13)Lancers，” he features a traditional 14)cavalry attack， but he gives it a deadly 15)diagonal quality. The newspaper report behind refers to the progress of the war in France， an urgent reminder to Boccioni’s countrymen that their allies had been fighting the enemy for some time. The top left of the painting is dominated by a 16)skeletal head. It symbolizes death， perhaps to suggest that the enemy below are to 17)perish or that Boccioni was already starting to acknowledge the horror of war as well as its excitement. Within weeks of joining the cavalry himself， Boccioni was killed in a training exercise.

We celebrate war poets， but war artists have largely been forgotten. They gave us something the objective， 18)dispassionate camera cannot provide. The paintings produced by the avant-garde have given us an emotional connection with the war， which reveals the inner feelings of those soldier-artists who were involved in the bloodiest battles the world has ever known.

第一次世界大戰(zhàn)是一場(chǎng)那么可怕而又巨大的戰(zhàn)爭(zhēng)，以至于我們至今猶有記憶。在此之前的戰(zhàn)爭(zhēng)從來(lái)沒(méi)有如此地血腥和規(guī)模浩大。它所造成的創(chuàng)傷是深刻的，因此它被稱為“大戰(zhàn)”。

1914年至1918年的戰(zhàn)爭(zhēng)令畫(huà)壇也從此起了一個(gè)翻天覆地的變化。1914年以前的士兵形象常以夸張或愛(ài)國(guó)式的手法來(lái)描繪。畫(huà)家傾向于服從權(quán)力機(jī)構(gòu)，各國(guó)的統(tǒng)治者經(jīng)常被描繪成偉大的勇士，而他們的軍隊(duì)則是成群的英雄。但是這種手法即將受到挑戰(zhàn)。

藝術(shù)歷史學(xué)家：我認(rèn)為，在第一次世界大戰(zhàn)前，那時(shí)歐洲各地整整一代的年輕藝術(shù)家們都在挑戰(zhàn)承自19世紀(jì)的所有傳統(tǒng)。那是一戰(zhàn)前各種“主義”交輝的美好時(shí)期，有立體主義，有表現(xiàn)主義，還有未來(lái)主義，都在互相競(jìng)爭(zhēng)，比拼誰(shuí)更反傳統(tǒng)，并嘗試著把藝術(shù)推向一個(gè)新方向。

對(duì)戰(zhàn)爭(zhēng)的熱忱在各個(gè)國(guó)家、社會(huì)各界、以及各個(gè)階層里廣泛蔓延。藝術(shù)家也不例外。他們認(rèn)為戰(zhàn)爭(zhēng)會(huì)清除歐洲的舊秩序，建立一個(gè)更自由的世界。