臺灣博碩士論文加值系統

本文以狄德羅（Denis Diderot, 1713-1784）1765年和1767年的《沙龍評論》為主要材料，研究十八世紀下半葉以巴黎為中心的藝術現象。分析討論學院、學院畫家、沙龍展覽、沙龍評論、繪畫作品、流行思潮，致力呈現藝術作品與美學在時代中的樣貌。檢視「情感」在狄德羅的藝術評論與當時藝術作品的表現，也參照當時的藝文現象與理論，例如重視觀看經驗、繪畫援用戲劇理論以及經驗主義的美學。最後以1760年代兩位沙龍畫家，葛魯茲（Jean-Baptiste Greuze, 1725-1805）和羅伯特（Hubert Robert, 1733-1808）的作品為例，以及狄德羅對這兩位畫家作品的敘述對照圖像與文字。揭露藝術作品及其欣賞之情感問題，證明十八世紀下半葉時「情感」這個性質存在當時的評論與繪畫之中，連結了圖像與文字。

This article, mainly aided by the 1765, 1767 Salons criticism of Denis Diderot (1713-1784), deals with the second half 18th century art works, activities and criticisms centered at Paris. It makes careful observation and analysis about Royale Académie de peinture et de sculpture, the artists from the Academy, the Salon exhibitions held by the Academy, Salon criticisms, the exhibited drawings and paintings and some major, related thoughts at that time. The observation and analysis thrive to show the authentic historical context where the arts were performed, make optimal basis for following examination. Based on historical context, this article starts examine the sentiment/sensibilité appeared in the artistic writings of Diderot and relative art works; further refers sentiment quality to current arts ideas, like the emphasis on viewing, the popularity of drama concepts in painting field, and the aesthetics dissertated by Empiricists. Later in this article, two 1760s Salon painters, Jean-Baptiste Greuze (1725-1805), Hubert Robert (1733-1808), and their works and related critics, are dragged out to reveal the sentiments in art works and its appreciation. By the meticulous development above, it is suggested that, in the second half of the 18th century,the quality of sentiment/sensibilité exists in the art field of Paris.

摘 要 i
Abstract ii
圖版目錄 v
緒論 1
第一章 狄德羅《沙龍評論》的時代背景 17
第一節 十八世紀歐洲啟蒙運動 17
第二節 十八世紀法蘭西皇家繪畫與雕塑學院 25
第二章 法蘭西皇家繪畫與雕塑學院沙龍展 37
第一節 學院的藝術開放態度 37
第二節 學院沙龍展的確立 40
第三節 學院沙龍展的觀眾 43
第四節 學院沙龍展的評論 47
第三章 狄德羅的藝術思想 55
第一節 思想淵源 55
第二節 繪畫與戲劇傳統 62
第三節 小結：情感的基礎 67
第四章 狄德羅《沙龍評論》的寫作風格 68
第一節 情境製造 68
第二節 再造的圖像 79
第三節 小結：傳遞情感的敘述 82
第五章 藝術作品與欣賞的情感——以葛魯茲和羅伯特為例 85
第一節 葛魯茲（Jean-Baptiste Greuze, 1725-1805） 85
第二節 羅伯特（Hubert Robert, 1733-1808） 100
第三節 小結：藝術作品與欣賞的情感 110
結論 113
參考資料 121
附錄 130
附錄1：1765〈沙龍評論〉，評述葛魯茲《女孩為死去的鳥哭泣》全文
附錄2：1767〈沙龍評論〉，評述羅伯特《羅馬里貝塔港風景》全文
附錄3：狄德羅著述簡目（以本文提及之著作為主）
附錄4：中外名詞譯表
附錄5：圖像學三階段表
圖版 142

一、中文書目
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高階秀爾著，潘襎譯，《法國繪畫史：從文藝復興到世紀末》（Histoire de la peinture française）。台北：藝術家出版社，1998。
郭玲玲編，《榮耀之門十九世紀法國巴黎官方沙龍展》。台南：財團法人台南奇美文化基金會，2006。
陳懷恩，《圖像學──視覺藝術的意義與解釋》。台北：如果出版社，2008。
劉文潭，《西洋美學與藝術批評》。台北：環宇出版社，1979。
劉文潭，《現代美學》。台北：臺灣商務印書館，2003。
謝東山，《藝術批評學》，台北：藝術家出版社，2006。
Argan, Giulio Carlo & Faiolo, Maurizio著，曾堉、葉劉天增譯，《藝術史學的基礎》。台北：東大圖書，1992。
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Carrier, David著，吳嘯雷譯，《藝術史寫作原理》（Principles of Art History Writing）。北京：中國人民大學出版社，2006。
Cassirer, Ernst著，李日章譯，《啟蒙運動的哲學》（The Philosophy of the Enlightenment）。台北：聯經，1984。
Diderot, Denis著，王雨、陳基發編譯，《狄德羅文集》。北京：中國社會出版社，1997。
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France, Peter著，胡基峻譯，《狄德羅》（Diderot），台北：聯經，1985。
Gay, Peter著，劉森堯、梁永安合譯，《啟蒙運動（上冊：現代異教精神的崛起）》（The Enlightenment, the Rise of Modern Paganism）。台北：立緒文化，2008。
Gay, Peter著，劉森堯、梁永安合譯，《啟蒙運動（下冊：自由之科學）》（The Enlightenment, the Science of Freedom）。台北：立緒文化，2008。
Hampson, Norman著，李豐斌譯，《啟蒙運動》（The Enlightenment）。台北：聯經，1984。
Minor, Vernon Hyde著，李建群譯，《藝術史的歷史》（Art History’s History）。上海：上海人民美術社，2007。

艾狄生‧維斯理‧朗文出版公司辭典部編（Addison Wesley Longman Limited），《朗文當代高級辭典（英英．英漢雙解）》（Longman Dictionary of contemporary English, English-Chinese）。香港：朗文出版亞洲有限公司，1997。
趙德恕編修，《現代法漢辭典》（Dictionnaire Moderne Français-Chinois）。台北：文橋出版社（Lanbridge），1990, 2008。

葉嘉華，《從文藝復興到狄德羅主編的百科全書探討繪畫地位的轉變及其意義》。桃園：國立中央大學藝術學研究所碩士論文，1998年。
高文萱，《從狄德羅的沙龍評論看夏爾丹的靜物畫在法國繪畫史上的地位與影響》。桃園：國立中央大學藝術學研究所碩士論文，2005年7月。

二、西文書目
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Barker, Emma. Greuze and the Painting of Sentiment. Cambridge: Cambridge University Press, 2005.
Baugh, Albert C. & Cable, Thomas. A History of the English Language. London: Routledge, 2002.
Bazin, Germain. Baroque and Rococo. New York: Tames & Hudson, 1964.
Beardsley, Monroe C. Aesthetics from Classical Greece to the Present, a short History. Tuscaloosa: University of Alabama Press, 1975.
Boime, Albert. The Academy and French Painting in the Nineteenth Century. New Haven: Yale University Press, 1986.
Boime, Albert. Art in an Age of Revolution, 1750-1800. Chicago: University of Chicago Press, 1987.
Borys, Stephen D. The Splendor of Ruins in Frnech Landsacape Painting, 1630-1800. Oberlin: Allen Memorial Art Museum, Oberlin College, 2005.
Borys, Stephen D. “Documenting and Collecting Ruins in European Landscape Painting,” in The Splendor of Ruins in Frnech Landsacape Painting, 1630-1800. Oberlin: Allen Memorial Art Museum, Oberlin College, 2005.
Bremner, Geoffrey. Order and Chance: the Pattern of Diderot’s Thought. New York: Cambridge University Press, 1983.
Brewer, Daniel. The Discourse of Enlightenment in Eighteenth-Century France, Diderot and the Art of Philosophizing. New York: Cambridge University Press, 1993.
Brookner, Anita. Greuze: the Rise and Fall of an Eighteenth-Century Phenomenon. London: Elek, 1972.
Bryson, Norman. Word and Image: French Painting of the Ancien Régime. Cambridge: Cambridge University Press, 1983.
Burke, Edmund. A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. London: Routledge, 1968.
Clark, T. J. Image of the People-Gustave Courbet and the 1848 Revolution. London: Thames and Hudson, 1999.
Craske, Matthew. Art in Europe 1700-1830, a History of the Visual Arts in an Era of Unprecedented Urban Economic Growth. Oxford: Oxford University Press, 1997.
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Crocker, Lester G. Diderot’s Chaotic Order─Approach to Synthesis. Princeton: Princeton University Press, 1974.
Crow, Thomas E. Painters and Public Life in Eighteenth-Century Paris. New Haven: Yale University Press, 2000.
Diderot, Denis. Vernière, Paul ed. Œuvres Esthétiques de Diderot, Editions Garnier. Paris: Boards, 1988.
Diderot, Denis. Bremmer, Geoffrey ed. Selected Writings on Art and Literature. London: Penguin Books, 1994.
Diderot, Denis. Goodman, John trans. Diderot on Art, the Salon of 1765 and Notes on Painting. New Haven: Yale University Press, 1995.
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Fried, Michael. Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Chicago: University of Chicago Press, 1988.
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Hatt, Michael and Klonk, Charlotte. Art History: a Critical Introduction to its Methods. Manchester: Manchester University Press, 2006.
Hayes, Julie Candler. Identity and Ideology: Diderot, Sade and the Serious Genre. Amsterdam: Peter Lang, 1991.
Held, Julius S. “Introduction to Baroque Art.” in Held, Julius S., Ponser, Donald. 17 and 18 Century Art: Baroque Painting, Sculpture, Architecture. Englewood Cliffs: Prentice-Hall, Inc, 1972.
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Julien , Depaulis ed. French Painting, 16th-20th Centuries. London: Sirrocco, 2003.
Largerlöf, Margaretha Rossholm. Ideal Landscape, Annibale Carracci, Nicolas Poussin and Claude Lorrain. New Haven: Yale University Press, 1999.
Levey, Michael. Rococo to Revolution, Major Trends in Eighteenth-Century painting. London: Thames & Hudson, 1988.
Mehlman, Jeffrey. Cataract: a Study in Diderot. New York: Columbia University Press, 1979.
Millon, Henry A. The Triumph of the Baroque, Architecture in Europe, 1600-1750. London: Thames & Hudson, 1999.
Minor, Vernon Hyde. Baroque and Rococo, Art and Culture. London: Calmann and King Ltd, 1999.
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Thurber, T. Barton. “From ‘Learned Architecture’ to the ‘Poetics of Ruins’, Classical Building Types and Motifs in Selected French Landscape from Claude to Robert,” in Borys, Stephen D. The Splendor of Ruins in Frnech Landsacape Painting, 1630-1800. Oberlin: Allen Memorial Art Museum, Oberlin College, 2005.
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三、期刊資料
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Brookner , Anita. “Jean-Baptiste Greuze－II.” The Burlington Magazine, vol. 98, no. 639, 1956.
Cailleux, Jean. “Introduction to the Method of Hubert Robert.” The Burlington Magazine, vol. 109, no. 767, 1967.
Cailleux, Jean. “A Taste for Classical Antiquity in Town Panning Projects: two aspects of the art of Hubert Robert.” The Burlington Magazine, vol. 114, no. 836, 1972.
Cailleux, Jean. “Hubert Robert’s Submissions to the Salon of 1769.” The Burlington Magazine, vol. 117, no. 871, 1975.
Duncan, Carol. “Happy Mothers and other New Ideas in French Art.” Art Bulletin, vol. 55, no. 4, 1973.
Johnson, Dorothy. “Corporality and Communication: the Gestural Revolution of Diderot, David, and The Oath of the Horatii.” Art Bulletin, vol. 71, no. 1, 1999.
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