Abstract

Inspired by dialogue with Sergei Eisenstein, David Alfaro Siqueiros applied the principles of material dialectics to art’s production, aesthetics, and reception. Central to his experiments was the use of linear perspective and its ancillary, anamorphosis. Siqueiros, like Erwin Panofsky, understood perspective to have both psychological and symbolic potentials and developed an aesthetics of conflict, designed both to psychologically engage the viewer with a montage of conflicting perspectives and to embody the conflicts of the 1930s (epitomized in the Portrait of the Bourgeoisie mural). At issue is the question, under what conditions can artworks affect their spectators?

摘要

在与谢尔盖·爱森斯坦（Sergei Eisenstein）对话的启发下，大卫·阿尔法罗·西奎罗斯（David Alfaro Siqueiros）将物质辩证法的原理应用于艺术的生产，美学和接受。他的实验的中心是使用线性透视及其辅助变形。Siqueiros和Erwin Panofsky一样，都将视角理解为具有心理和象征意义的潜能，并发展了冲突美学，旨在使观看者在心理上与一系列相互冲突的视角发生冲突，并体现1930年代的冲突（在《肖像》中进行了深化）资产阶级壁画）。问题是，在什么情况下艺术品会影响观众？