Bernard Rancillac 僭越的寫實主義美學

The Transgressive Aesthetics of Bernard Rancillac’s Realism

1961 年以抽象畫拿下巴黎雙年展繪畫大獎的法國藝術家Bernard Rancillac，不久後卻終止其「無形象藝術」的創作。在取材於漫畫或卡通圖像的短暫實驗後，1965～1966 年間開始，他轉向植基於媒體攝影影像的具象繪畫。Bernard Rancillac 如此的創作涉及的並非是一種傳統寫實主義的回歸，而是一種激進之舉、一種與僵化的繪畫發展清楚的決裂，更是一種對當時社會之美學標準的僭越。本文著重於歷史的殊異性，回溯Bernard Rancillac 所從出之當代藝術創作語境，分別就左右其繪畫轉向最關鍵的兩大面向的辯證──具象與抽象、繪畫與攝影，論述Bernard Rancillac 僭越的寫實主義美學之動機、意義與價值。

Bernard Rancillac， a significant figure in Narrative Figuration， who was awarded the Painting prize at the Paris Biennale by an abstract painting in 1961， focused on the Art informel at first.After the experiment of comic and cartoon images as materials between 1963 and 1965， he turnedto media， painting from images taken from photography. The realism that Rancillac involved is not a regression back to traditional figuration， but a radical conflict in the stagnate development on painting;otherwise， it is especially a transgression to the standard to aesthetics in thecontemporary age. This paper will trace Rancillac’s context of the contemporary artistic creativity，which affects his two main dialectical points — concrete and abstract; painting and photography — by which we can interpret Racillac’s realistic aesthetics， its motivation， vitalityand significance.