大图链接：
http://www.artrenewal.org/asp/database/art.asp?aid=8&page=1&order=h

其它画家：
http://www.artrenewal.org/articles/2005/Reasons/museum1.asp

“每一片花瓣都无法移动”

似乎Kanex对写实的风格感兴趣？

是否欣赏 Savaldor Dali？

http://www.salvadordalimuseum.org/history/biography.htm

http://www.artcyclopedia.com/artists/dali_salvador.htm

多数人会指出现代派的作品更加“深刻”，更富有“内涵”。而事实，或许恰恰相反。

在我们看过这些现代派的作品之后，真的就有了什么收获吗？

抑或，是他们给予了观众与评论家一些小小的思维乐趣，与一些脱离庸俗大众的快感，像是明白了些什么----其实，一无所知？

所看到的，只有虚伪与愚蠢。

我们且不论思想。因为思想，是更高的要求。

曾在网上看过许多作品。其中有摄影照片，有工业设计，有美术创作。然而它们大都存在着这样那样的技术问题----构图，用光，线条，色彩，结构，透视，明暗。是的，总有那么些缺陷，一目了然。

但当我面对这些画作时，这些被现代派所排挤与打压的大师们的画作时，只感到一种发自内心的敬畏【Awe】。

因为它们无懈可击。纯朴。真诚。没有自以为是的卖弄。没有矫揉造作的浮夸。它们超越时代与地域的界限，直至人的深处，令人自惭形秽。

很久以前在想，所有艺术，从文学到音乐，从绘画到雕塑，关注的核心与表达的主体，应是着眼于人性。而只有人性，是永恒的话题。

在人性之中，有感性的一面，有理性的一面，有神性的一面。

立足感性，符合理性，追求神性。

那些机械的，怪异的，荒谬的，固然是人性的一部分。而如今喧宾夺主，恐怕不会长久。

历史，正是这样螺旋着向上升去。

So please, bow to the Old Masters.

网站上有一篇讲演稿，值得一读。深以为然。

http://www.artrenewal.org/articles/2006/OPA_Speech/opaspeech1.asp

引用：

Before I saw Bouguereau's Nymphs and Satyr, I thought that the methods and techniques of the great Old Masters had somehow been lost over time accidentally. It never had occurred to me for two seconds, that people would actually have deliberately destroyed all of the institutions and methods by which the knowledge could be gained of how to create great works of art. This is one of mankind's greatest achievements ... one of the defining characteristics of advanced civilization ... a skill that makes us so unique, so sophisticated and so special. We are talking about the great arts of drawing, painting and sculpture, through which it's possible to express our shared humanity, including all of the universal, profound, complex and subtle emotions of what that means: our hopes and dreams, our fears and fantasies, our jealousy, and joys, our grief, loneliness, expectation, insecurity, intrigue, and compassion,

This is what art is really for; whether in theatre, in music, in literature, in sculpture, or in painting. Not the modernist cry of, "art for art's sake," or the modernist's belief that it is the duty of the artist to be honest and "prove that the canvas is flat". Any three-year-old knows that the canvas is flat! It is making the canvas come to life with reality and meaning that is the accomplishment. And these skills and humanistic values became precisely what the theories of modernism decided to attack and label as uncreative, confining and sentimental. They called great skill obsession with technique and worthless. They called story telling and the use of universal symbols as boring and repetitive. Realizing this we see that modernism didn't attack academic art. It attacked art itself. All art was without value, because the essence of what art is, the communication of our common humanity, was banished. And all this destruction was supported by journalistic art criticism, which was also held hostage by the same insanity. No longer was art allowed to use any of the parameters by which we can seek universal concepts and communicate with each other. Art was to only be about art and to be continuously novel for the sake of novelty. Not only did this create "empty art" it created quick and easily available products for sale at high prices. Now there is a huge establishment invested both philosophically and financially in this dead-end art...in such "work" as canvases using excrement and empty rooms with the light blinking on and off. In case any of you think I'm making that up, just such a room was the winner of the most prestigious award given out each year in Great Britain, the Turner Prize.

Kanex说的我基本同意，事实上我对大多数现代艺术持有相同的态度。我会认为他们为了怪异而怪异，变形而变形，最终却不知所云。然而对于一些经典的，如Dali, Picaso...我并不认为他们出于上面的目的在哗众取宠。

作为超现实主义的代表，Dali其实是用写实的手法描述了他那个关于那个梦境，臆想中的世界，一切看上去那么确定不疑却又荒诞不经。其作品曾经在我幼年留下极为深刻的印象，远远超过我以前看过的很多“宫廷画”。事实上当初获得的震撼现在很难体会再找到，或者这和年龄有关。

不论如何，凡事有个度，任何一种类型，都会有大师的经典之作，也会有大量的垃圾。通常只要是经历了时间的考验，仍广为流传（正或负的评价并存），那么就要小心对待，因为你现在不喜欢并不意味着某一天说不定你就会喜欢它。

小时候觉得有趣，现在不觉得。因为这些所谓的似是而非的道理，和民科没有区别。

所看到的，只有虚伪与愚蠢。
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不会吧， 抽象派的理念可以说成是公理化，美的公理化、美的表现形式的公理化。这个公理化和数学等其它学科的公理化本质上没有不同。