一位孤獨的朝聖者：喬治．魯奧的藝術觀

Abstract

本研究從四個面向探討魯奧如何以孤獨朝聖者之姿實踐其創作理念。首先，「創作的轉變」聚焦在魯奧於巴黎美術學院與牟候工作室的學習歷程，以及他在歷經學院的競賽事件與官方沙龍的除名後，為其創作帶來的轉變。其次，「作品的歸類爭議」以回應魯奧被歸為野獸派和表現主義的爭議，以及從新近研究審視歸類的合理性，突顯其創作中不可概約的獨特性與邊緣性。第三，「風景畫和人物畫的演變」，以一段時間的作品進行討論，透過相關的研究揭示魯奧風景畫和人物畫的創作歷程。在風景畫的演變中，可見他展現從編碼的技術、媒材與技術的實驗到追求媒材物質性的表現，在人物畫方面，可見從人文關懷到強化構圖的動勢，再到不斷地尋求繪畫語言的生成和推演。最後，「藝術觀」探討魯奧的評論、宗教藝術與藝術進化的觀點，研究發現，他之所以反對評論，是基於其主張作品應以繪畫語言自主表達；以自白的手法，將作品視為情感表露的對象，從而實現宗教藝術的神聖性；以邊界、力量和愛來建構他的進化觀，在反對歸類、繪畫語言的持續生成和未完成的觀點中，皆可見此觀點的作用。這些觀點構成他創作的核心。This study explores how Georges Rouault, in the guise of a solitary pilgrim, realized his artistic vision through four distinct lines of inquiry.The first, “Transformation of Artistic Practice,” focuses on Rouault’s formative years at the École des Beaux-Arts de Paris and in the studio of Gustave Moreau. It examines how the controversy surrounding the academy competition and his expulsion from the official Salon served as pivotal turning points in his creative development. The second, “Controversies in the Categorization of Rouault’s Works,” addresses the ongoing debate regarding his classification as either a Fauvist or Expressionist. Recent scholarship reevaluates the validity and applicability of these classifications, highlighting the marginal position and irreducible uniqueness inherent in his oeuvre. The third section, “Evolution of Landscape and Figurative Painting,” traces Rouault’s long-term artistic trajectory as revealed through relevant studies. In his landscapes, one observes a progression from encoded techniques and experimental use of media to an increasing emphasis on materiality. In his figurative works, one observes a clear transition from humanistic concern to intensified compositional dynamism, culminating in a sustained and ongoing creation of his distinctive pictorial language.The final line of inquiry, “Views of Art,” examines his perspectives on art criticism, religious art, and artistic evolution. It finds that his opposition to art criticism stems from the conviction that the pictorial language within the work is inherently self-expressive, making external commentary unnecessary. Moreover, the sacred nature of religious art is realized through a confessional mode of expression, positioning the artwork as a medium for emotional revelation. Rouault’s concept of artistic evolution—grounded in formal boundaries, power, and love—manifests in his resistance to categorization, the ongoing creation of pictorial language, and the embrace of artistic incompletion. Together, these elements constitute the core of his creative vision.