说起现代美术思潮,一般人都知道有个抽象派。确实,抽象派(Abstractionism)在西方流行了相当长的时间,至今还有不小的影响。但是,它的势力同二十年前相比,已经大大削弱了。假如说,在五十年代,已有四十来年历史的抽象派美术发展到了顶峰,一度霸占了西方的画坛;那么从六十年代开始,形势便逐渐发生了变化。先是波普派向它发起挑战,继而新写实派崛起,同它分庭抗礼。翻开当代欧美各国的美术期刊和出版物,我们就会看到多种流派和思潮并存的局面。就其名称来说,有超现实主义、超现实的抽象主义、光效应艺术、行动派、概念派、新抽象主义等等,名目繁多,不胜列举。但透过这些纷纭繁杂的现象,在这些派别的变换更迭中,我们也可以理出一个基本线索:抽象与具像艺术的交锋与对立。抽象艺术产生于二十世纪初,它反对传统的造型法则,主张舍弃具体的造型,而用不表达情节和内容的线、形、色彩、体积和构图来表现作者的主观意图 Speaking of modern art trends, most people know there is an abstract school. Indeed, abstractionism has been around for a long time in the West and so far it has had no small impact. However, its power has been greatly weakened compared to two decades ago. If we say that in the fifties, the art of abstract art, which had been in existence for more than 40 years, reached its peak and once dominated the Western art scene, the situation changed gradually from the 1960s onward. First, the Poppy challenged it, and then the rise of a new realistic school, with its rival. Open the art journals and publications of contemporary European and American countries, we will see the coexistence of many schools of thought and ideological trends. As far as its name is concerned, there are numerous surrealistic and surrealistic abstractions, light-effect art, action, conceptualism and neo-abstraction. However, through these diverse and complicated phenomena, we can also find a basic clue about the transformation and alternation of these factions: the confrontation between the abstract and figurative art. Abstracted from the early twentieth century, abstract art objected to traditional stylistic principles and advocated discarding specific stylistic representations of authors’ subjective intentions with lines, shapes, colors, volumes, and compositions that did not convey the plot and content