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Monochromatic painting has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Painters have created the exploration of one color, the examination of values changing across a surface, the expressivity of texture and nuance, expressing a wide variety of emotions, intentions and meanings in a wide variety of ways and means.〔(MoMA on Monochrome )〕 From geometric precision to expressionism, the monochrome has proved to be a durable idiom in Contemporary art.〔(Monochrome, Tate Glossary )〕 ==Origins== Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled "Combat de Nègres dans un tunnel" (Negroes fight in a tunnel). In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed seven other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich. Jean Metzinger, following the ''Succès de scandale'' created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in ''Paris-Journal'' 29 May 1911, stated: We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Others will come after us who will do the same. What will they find? That is the tremendous secret of the future. Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. (Jean Metzinger, 29 May 1911)〔Jean Metzinger, "Chez Metzi'', interview by Cyril Berger, published in the ''Paris-Journal'', 29 May 1911, p. 3〕〔Mark Antliff and Patricia Leighten: ''A Cubism Reader, Documents and Criticism, 1906-1914'', University of Chicago Press, 2008, Document 17, Cyril Berger, ''Chez Metzi'', Paris-Journal, 29 May 1911, pp. 108-112 〕 Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. The writer of a satirical manifesto entitled ''Manifeste de l'école amorphiste'', published in ''Les Hommes du Jour'' (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by claiming 'light is enough for us'.〔(''Evolution de l’art: Vers l’amorphisme'', Victor Méric, ''Manifeste de l'école amorphiste, Guerre à la Forme !'' Les Hommes du Jour, 3 May 1913 (A6, N276). Gallica, Bibliothèque nationale de France )〕〔(Roger I. Rothman, ''Between Music and the Machine: Francis Picabia and the End of Abstraction'', tout-fait, the Marcel Duchamp Studies Online Journal, Jan. 2002, vol. 2, issue 4, p. 3 )〕〔 With perspective, writes art historian Jeffery S. Weiss, "''Vers Amorphisme'' may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity".〔(Jeffrey S. Weiss, ''The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-gardism'', Yale University Press, 1994, ISBN 0300058950, 9780300058956 )〕 In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși.〔(Maureen Mullarkey, Art Critical, ''Giorgio Morandi'' )〕〔(Daniel Marzona, Uta Grosenick; ''Minimal art'', p.12 )〕 Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.〔(Gregory Battcock, ''Minimal Art: a critical anthology'', pp 161-172 )〕 The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals.〔''The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avant-Garde,'' Benjamin H. D. Buchloh, October, Vol. 37, (Summer, 1986), pp. 41-52 (article consists of 12 pages), Published by: The MIT Press〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Monochrome painting」の詳細全文を読む スポンサード リンク
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