2017-03-17 01:26

这个意义上的艺术自由盛行于巴塞罗那(这是,正如Carr指出的,完全由该地区的中产阶级的商务带来成功),值得注意的是,由一个根深蒂固的保守主义的宗教狂热折磨的绝大多数西班牙晚第十九世纪和第二十世纪早期推动的偏移。这个意义上的保守主义和根深蒂固的宗教热情会再现高迪在他的后期工作时,宗教信仰成为确定思想特征在他的生活中,为自己的艺术,我们在引进提到相反的性质提供了动力。然而,尽管宗教成了他后来的工作中心的特点,在他的职业生涯初期,高迪是一个非常产品的特点,现代主义和自由主义的新艺术风格,已席卷欧洲的时候,他设计的建筑在加泰罗尼亚首府巴塞罗那将“完全免费,非对称锯齿状的飞机,猛烈的奢侈和任意形式,没有直墙,没有直角和一切波动的外部和内部前所未有的有机互动。”(荣誉和弗莱明,2005:725) 如果,例如,我们检查一下起伏的形式,高迪Casa Mila的外部(1905-1910)巴塞罗那(图1)我们可以看到在何种程度上的旧习俗有关的建筑结构和设计被抛弃被艺术家的愿望永远舒展的新的界限了。


This sense of artistic freedom prevalent in Barcelona (which was, as Carr suggests, brought about entirely by the success of the commerce of the region’s middle classes) was, it should be noted, offset by a deep-seated conservatism fuelled by religious fervour which afflicted the vast majority of Spain during the late nineteenth century and early twentieth century. This sense of conservatism and deep-seated religious fervour would be recreated by Gaudi in much of his later work when religious conviction became the determining ideological feature in his life, providing the impetus for the contrary nature of his art which we alluded to in the introduction. However, while religion became the central feature of his later work, during the early part of his career, Gaudi was very much a product of the free expressionism which characterised modernism and the art nouveau style that had swept across Europe at the time whereupon he designed buildings in the Catalan capital of Barcelona which combined “entirely free, asymmetrical, jagged planes with fiercely extravagant and arbitrary forms so that there are no straight walls, no right angles and everything undulates in an unprecedentedly organic interplay of exterior and interior.” (Honour and Fleming, 2005:725)
If, for instance, we pause to examine the undulating form of the exterior of Gaudi’s Casa Mila (1905-1910) in Barcelona (figure 1) we can see the extent to which the old conventions pertaining to architectural structure and design had been cast aside by an artist fuelled by a desire to perpetually stretch the boundaries of the new.