CUBISM, perhaps the most revolutionary movement of early modern art, developed in France between 1907’s and the early 1920’s. Essentially, cubism was a new way of seeing nature and work of art, different from any way of seeing used by artists previously.

立体主义，于1907年至1920年初在法国发展起来的，也许是早期现代艺术最具革命性的运动。从本质上说，立体主义是一种欣赏自然和艺术作品的新方式，不同于艺术家早先使用的任何欣赏方式。

Since the Renaissance, painters had utilized spatial illusions based on systems of linear and atmospheric perspective. The spectator, looking at such a painting, observes a cube of space in which an illusion of depth is created by a geometric diminution of objects in scale and a progressive decline in clarity of outline as, apparently, the objects recede into the distance. During the 19^th century, pioneers of modern art had, by various means of limiting and controlling the depth, created a balance between THREE-dimensional illusion and the actual two-dimensional surface of the painting. Experimentation had begun with Courbet and Manet and was continued by the IMPRESSIONISTS and post-IMPRESSIONISTS—Degas, Seurat, Gauguin, Van Goth, and, above all, Cezanne. In all these efforts, however, with the exception of the late paintings of Cezanne, there was little distortion of the human figure or objects or of the space they occupied.

自文艺复兴以来，画家们就利用了基于线性和大气透视系统的空间错觉。看着这样一幅画，观看者会看到一个立体空间，其中，一种景深的错觉是由物体在比例中的几何缩小和轮廓的清晰度逐渐下降造成的，很显然，物体在逐渐远去。在19世纪，现代艺术的先驱们，通过各种限制和控制景深的方式，创造了绘画三维错觉与现实的二维平面之间的平衡。实验开始于库贝尔和马奈，接着是印象派画家和后印象派画家们---德加、瑟拉、高更、凡·高，尤其是塞尚。然而，在所有这些努力中，除了塞尚晚年的绘画外，人物形象或物体，或它们占据的空间很少有变形的。

Analytical cubism.  Pablo Picasso in 1907—and Georges Braque at about the same moment, but independently—demonstrated for the first time the principle that even the figure could be subordinated to the total painting. It could be distorted, cutup, and transformed into a series of flat-color facets indistinguishable from the comparable planes that composed the environment in which it existed. From this discovery it was only a short step to the realization that a painting could exist as an abstract arrangement of lines and color shapes, independent of figures, landscape, or still life. Thus cubism introduced the principle that led ultimately to nonobjective art.

分析立体主义。巴勃罗·毕加索在1907年---与乔治·布拉克大约在同时，但独立地---第一次证明即使人物也可以从属于整个绘画。它可以变形、切割，并从构成它存在环境可比较的平面转换成一系列难以区分的平面彩色切面。从这一发现到认识到一幅绘画可以作为一种线条和色彩形状的抽象安排，独立于人物、风景，或者静物而存在，这只是一小步。因此，立体主义引入了最终导致非写实艺术的原则。

The key work in the discovery of cubist principle was Picasso’s painting Les demoiselles d’ Avignon (1907; Museum of Modern Art, New York), which illustrate many of the principles of cubism. Perspective painting had insisted on a single, unified point of view: what would be observed by spectator standing in a fixed position before the subject. In Les demoiselles (perhaps using the example of Egyptian and other pre-classical art), Picasso shifted the point of view at will. Heads, noses, and eyes are seen simultaneously in profile and full-face. Figures are shown geometrically, and the foreground table with fruits is seen from above. In other words, the vision of the spectator is enlarged to include a number of different views—as though he were moving from point to point, now looking up and now looking down. Modern studies of perception have shown that this is the way we form a visual image of a thing—not from one fixed, all-encompassing glance but from an infinite number of momentary glimpses, formulated and unified into a whole by the spectator’s mind. Cubism thus introduced into painting not only new kind of space but also another dimension—time.

发现立体主义原则的关键作品是毕加索的绘画《阿维尼翁的少女》（1907年；纽约现代艺术博物馆），它阐明了许多立体主义的原则。透视的绘画一直坚持单一、一致的观点：观看者站在主题前的固定位置所看到的东西。在《阿维尼翁的少女》中（也许使用了埃及和其它前古典艺术的范例），毕加索随意转移了视点。在侧面和正面可同时看到头部、鼻子和眼睛。以几何图形展示出人像，而且从上面可看到前景的桌子上摆满了水果。换句话说，观看者的视野被扩大到包括许多不同的视角—好像他从一个点移动到另一个点，一会儿向上看，一会儿又向下看。对感知的现代研究表明，这就是我们对一个事物形成视觉形象的方式---不是从一个固定的，无所不包的一瞥，而是从无数的瞬间一瞥中，由观看者的思想形成并统一成的一个整体。因此，立体主义引入到绘画不只是新的空间，而是有另一个维度---时间。

Picasso was joined by Braque in 1908, and for the next six years these two artists pursued together their investigation of cubism and all its implications. Braque submitted a number of his new paintings to the progressive Salon d’ Automne in 1908, and Henri Matisse on this occasion is supposed to have referred to Braque’s “petits cubes.” Before long the epithet “cubism” had become the accepted name of the movement.

1908年布拉克加入了毕加索的行列，在接下来的6年里，这两位艺术家一起对立体主义及其含义进行了研究。1908年，布拉克为进步的秋季沙龙递交了一些他的新绘画，而亨利·马蒂斯在这个场合据说提到了布拉克的“小方块”。不久，“立体主义”这个绰号更成为了该运动公认的名称。

Between 1909 and 1912 the paintings of Picasso and Braque became increasingly nonrepresentational, although cubism never became completely abstract, never lost all suggestion of figure, still life, or landscape. There was a progressive change in cubist style during these years from a kind of sculptural relief-modeling in geometric planes to a style in which the THIRD dimension—the illusion of depth—almost disappeared completely. It was stated entirely in terms of flat, slightly-angled planes that do not recede much beyond the surface of the canvas. Both Picasso and Braque limited their colors at this time mainly to greens, browns, and ochers.

在1909年至1912年间毕加索和布拉克的绘画变得越来越抽象，尽管立体主义从未变得完全抽象，从未失去对人物、静物，或风景的所有暗示。在这些年间，立体主义风格有了一种从几何平面的雕塑浮雕造型向第三维度---几乎完全消失的景深错觉的渐进变化。它完全是用平坦的，稍微倾斜的平面来表现的，并没有退出画布的表面多少。当时，毕加索和布拉克都将他们的颜色主要限制在绿色、棕色和赭色上。

The Renaissance tradition of painting based on perspective had been devoted largely to the imitation of nature. The painting became a painted illusion of a man, a still life, or a landscape. Cubist painters in effect were examining this central problem of illusion and reality, asking, “Is reality in the eye of the spectator, or is it whatever appears on the canvas?” Their concern with reality on and off the canvas led cubists to incorporate in their paintings bits of actual reality—in the form of words and letters that were either painted or cut out of newspapers and pasted on the canvas. They acted as “real” themes in counterpoint to the abstract structure of the rest of the painting. These experiments in technique led to collage, or papier colle, and other new forms in painting, as well as to new concepts of construction in sculpture.

文艺复兴时期基于透视绘画的传统主要是对自然的模仿。绘画变成了对人、静物，或风景描绘的错觉。实际上，立体主义的画家是在研究错觉和现实这个中心问题，是在问“现实是在观看者的眼中，还是在画布上出现的东西？”他们对画布内和画布外的现实的关注导致了立体派画家在他们的绘画中纳入了一些真实的现实—以字母和单词的形式，它们不是画出来的，就是从报纸上剪下来的，并贴在画布上。它们作为“真实的”主题与绘画其余部分的抽象结构形成对比。这些在技术上的实验导致了抽象拼贴画，或贴纸图案，和其它绘画的新形式，以及雕塑中结构的新概念。

After the initial experiments by Picasso and Braque, cubism spread rapidly. Other artists who developed variations of this new vocabulary were Albert Gleizes, Jean Metzinger, Robert Delaunay, Fernand Leger, Roger de La Fresnaye, Jacques Villon, and Marcel Duchamp. Cubist ideas and forms affected the German EXPRESSIONISM of Franz Marc and others and had a great influence on the painters of the Italian futurist movement. The basic ideas of cubism were carried to their logical conclusions in the severely abstract paintings of the Dutch artists Piet Mondrian and Theo van Doesburg and in the work of the Russian painters and sculptors Kasimir Malevich, Vladimir Tatlin, Naum Gabo, and others. The impact of cubism on the development of 20^th century sculpture was as germinal as its impact on modern painting. Cubist principles were applied to sculpture not only by Picasso but by Alexander Archipenko, Raymond Duchamp-Villon, Jacques Lipchitz, and Henri Laurens.

在毕加索和布拉克进行的最初实验之后，立体主义迅速传播开来。其他发展了这种新词汇的艺术家是阿尔伯特·格列兹、让·梅金杰、罗伯特·德劳内、费尔南德·勒热、罗杰·德·拉·弗雷斯纳耶、雅克·维隆和马塞尔·杜尚。立体主义的理念和形式影响了弗兰兹·马克的德国表现主义和其它人，并对意大利未来主义运动的画家产生了很大影响。立体主义的基本理念在荷兰艺术家皮特·蒙德里安和特奥·凡·杜斯伯格严肃的抽象绘画中，以及在俄罗斯画家和雕塑家卡西米尔·马列维奇、弗拉基米尔·塔特林、瑙姆·加博以及其他人的作品中得到了合乎逻辑的结论。立体主义对20世纪雕塑发展的影响就像它对现代绘画的影响一样原始。立体主义的原则不仅被毕加索应用于雕塑，而且也被亚历山大·阿契本科、雷蒙德·杜尚-维永、雅克·利普希茨，以及亨利·劳伦斯应用于雕塑。

Synthetic cubism.  During World War I the cubism of Picasso, Braque, and their major followers, such as Juan Gris, became more expansive and colorful. Having gained control of their new pictorial vocabulary in the first stage of their experiments (analytical cubism), artists began to play many variations on cubist themes in the second period (synthetic cubism). The synthetic cubist styles made less use of simultaneous views from various angles and more use of collage. They not only reintroduced more positive color but at times combined cubist space with aspect of Renaissance perspective space.

综合立体主义。在一次大战期间，毕加索、布拉克以及他们的主要追随者，如胡安·格里斯的立体主义变得更加广阔且丰富多彩。在他们实验的第一阶段（分析立体主义）便掌握了新的绘画词汇，在第二个时期（综合立体主义），艺术家开始对立体主义的主题展示出许多变体。综合立体主义的风格较少使用从不同角度的同时视图，而更多地使用抽象拼贴画。他们不仅重新引入了更积极的色彩，而且有时会将立体主义空间与文艺复兴透视空间的方面结合起来。

Some of the greatest cubist paintings, such as Picasso’s THREE Musicians (1921; Museum of Modern Art, New York), were produced in the early 1920’s when cubism as a distinct movement seemed to be declining. In fact, this was only apparently so, since aspects of cubist forms continued to reappear in the works of experimental artists at least until the mid-20^th century. Picasso’s great painting Guernica (1936; Museum of Modern Art, New York) was still constructed on cubist principles. Willem de Kooning and many of the other leaders of American abstract EXPRESSIONISM in the 1940’s and 1950’s continued to derive basic ideas from cubism.

一些最重要的立体主义绘画，比如毕加索的《三个音乐家》（1921年；纽约现代艺术博物馆），创作于20世纪早期，当时立体主义作为一种独特的运动似乎在下降。实际上，这种情况只是表面上的，因为立体主义的形式至少在20世纪中期前不断出现在实验艺术家们的作品中。毕加索的重要绘画《格尔尼卡》（1936年；纽约现代艺术博物馆）依然是以立体主义原则构建的。威廉·德·库宁和20世纪40年代和20世纪50年代的许多其他美国抽象表现主义的领导者仍不断地从立体主义中汲取基本的理念。

                                       H. H. ARNASON

                            The Solomon R. Guggenheim Foundation

                                       H. H. 阿纳森

                                  所罗门 R. 古根海姆基金会

                                         2023年8月27日译

（译者注：该词条位列《大美百科全书》1985年版，第8卷，第307至308页）