新浪漫主义 — 表现派
New Romanticism — Expressionism

根据德国人的解释“表现主义”就是情绪的具体化，画家应该先有表现，然后才有创造的熟练技巧；因此我们对于五十年前的德国评论家曾经引用这“表现主义”去评论一般的画是不足为奇的，虽然只是指那些逼真的描绘人类的感情重于纯粹的造形问题的解决，一般地说，美术在德国，似乎对审美的规则问题是不大重要，而重要的是感情的表现，那表现主义者是不以客观地处理他的画为目的，只作感情流露的接收者，因此他拒绝被认为画家是他自己的艺术仆人的说法，他认为美术是他的感情的仆人，这就是以最深刻的形式，回复到浪漫的理想。这世纪以来，纯美的，和浪漫的两种相反的观念在互相争论，彼此都认为自己的优点是成功的无二法门，不像印象派画家，他们认为一个纯粹客观的描绘，视觉，轮廓与色彩的互相作用，是足够作为画面的组成。评论家把凡果Van Gogh，果更Ganguin，罗特利Lautrec，曼区Munch，安塞Ensor，和他们的继承者罗耀Roueuit,毕加索Picasso（在他的蓝色时期），还有德国的诺第Nolde和克纳Kirchner，奥国的克喀斯卡Kokoschka等归入表现画派，后来沙丁Soutine，步着杜米埃Daumier，米勒Millet和柯尔培Courbet的后尘，强调“精神”对作画的作用，这个作用是柯尔培首次肯定的，跟着认为有这作用的如凡果，果更和黎丹Redon，因此绘画不再被认为是本身的完结，而是表现画家心境的个人感情，灵魂的追求，是哲学的，心理学的，也是社会学的见解，理论的手段，应用的时候是从极端的个人主义的角度看到宇宙的幻象，这些伟大的表现派画家，被认为英勇的孤立信徒，甚或是牺牲者，就是他们自己也这样承认，他们在追求这彻底的唯我论，反叛所有的成法，和有关于绘画技巧的宗规，所有造型规则，更反对使用那不能达到表现感情为目的的技术上的程序方法，显然的，这与塞尚Cedanne，雷诺阿Renoir，修拉Seurat，马蒂斯Matisse，和富斯Fauves等所支持的纯视觉观念的美术完全不同，真的，我们将有机会窥见现代艺术最新的变迁，这两种各趋极端的画派，有时却又集中，甚至也有合并的机会，其中最显著的是个人感情的激动，而被迫出的精密的客观性，现在让我们试把表现派的地位综合于下：

这运动的领袖人物多半是天赋地，自我的，并不是不健全的敏感，使他漠视了社会的关系，甚至做了“社会的敌人”，在绘画里，他们寻求着避免他们有形的，和灵魂的痛苦，因此它给他们这些具体化的一种手段，正如这是自我主义者的袐密，希望把它卸在一般社会里去，这期间，我们将看到表现派暂时的挫折——因为诺卑氏Nabis与富斯立体派画家和其他的经验论者活跃的时候，以新生的力量再跑前一步，这就是社会改革的结果，因为革命与战争使画家转移他们的注意力，从事纯造型的研究——他们是太过离开生活了，有如象牙之塔般地，无形中建立了如米拉劳斯Mairaux所说的：“如人的命运那么的复杂”的难题去了，在这世纪新派画正如雨后春笋，这新浪漫主义的命运是否会被时代潮流所冲淡呢？或且仅留下画史上的陈迹了呢？在这儿我们还不能下个断语。

According to the Germans' interpretation, "Expressionism" is the concretization of emotions, and painters should have expression first, and then the skilled techniques of creation. Therefore, it is not surprising that fifty years ago, German critics used "Expressionism" to comment on ordinary paintings, although they only referred to those realistic depictions of human emotions that were more important than solving purely formal issues. Generally speaking, in German art, aesthetic rules seem to be less important, and what matters is the expression of emotions. Expressionists do not aim to handle their paintings objectively; they only serve as receptors for emotional expression. Therefore, they reject the idea that painters are servants of their own art and instead consider art to be servants of their emotions. This represents a return to romantic ideals in the most profound form. Over the past century, two opposing concepts, pure beauty and romanticism, have been debated, each considering its own advantages to be the only successful way. Unlike Impressionist painters, who believe that a purely objective depiction, the interaction of vision, contour, and color, is sufficient as the composition of a painting, Expressionist painters use rough, bold brushstrokes and dragon-like contours to depict the excitement of personal inner feelings. Thus, Expressionism emphasizes the role of "spirit" in painting, a role that Courbet first affirmed, followed by artists such as Van Gogh, Gauguin, and Redon. Therefore, painting is no longer considered an end in itself but rather an expression of the painter's inner emotions, the pursuit of the soul, philosophical, psychological, and sociological insights. Theoretical means are used to view the universe's illusions from an extreme individualistic perspective. These great Expressionist painters are considered brave solitary believers or even sacrifices, as they themselves admit. They pursue thorough egoism, rebel against all conventions, and oppose all rules of form, instead emphasizing the use of technical methods that serve the purpose of expressing emotions. Clearly, this is completely different from the purely visual concept of art supported by artists such as Cezanne, Renoir, Seurat, Matisse, and the Fauves. Indeed, we will have the opportunity to witness the latest changes in modern art, as these two extreme schools sometimes converge or even have the opportunity to merge, the most significant of which is the excitement of personal emotions, forced out of precise objectivity. Now let's try to summarize the status of the Expressionist movement:

The leaders of this movement are mostly talented, self-centered individuals who are not necessarily sensitive to social relationships, even becoming "enemies of society". In their paintings, they seek to avoid their physical and spiritual pain, and therefore, it provides them with a means of concretization, just as it is the density of egoists, hoping to unload it into general society. During this period, we will see the temporary setbacks of Expressionism—when the Nabis, Fauvist sculptors, and other empiricists are active, they take a step forward with renewed vigor. This is the result of social reform, as revolutions and wars shift the focus of painters from purely formal studies—they have become too detached from life, as if they have unwittingly established "the complex fate of humans" issues, as Miralor said. There is still uncertainty about the fate of this new Romanticism—will it be diluted by the tide of time? Or will it only leave traces in the history of painting? We cannot make a definitive statement yet.