Published in the first issue of a new magazine, "The Arts", in late 1946, Herbert Read's commentary on the work of French painter Edouard Pignon testifies to a confused crossroads for the Ecole de Paris. In the exhausted and uncertain situation following the dark years of war and occupation, artists and critics alike were tasked with a humanist mission: to discern the key directions for modern art philosophy and to conceptualize the present as historical. This essay examines the articulation of this historiographical and aesthetic crisis in Pignon's paintings of the mid-1940s and Read's essays on European art. Both blatantly exhibit signs of the painful struggle to reconcile tradition and modernity, to produce a convincing manifestation of unity. Their linked figures are a reminder that there is nothing inevitable about the formation of such a phenomenon as 'modern art', nor about the historical intelligibility of the post-war moment for art history.

中文翻译：

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赫伯特·里德（Herbert Read），巴黎高等学校和艺术评论，c。1946年

赫伯特·里德 (Herbert Read) 于 1946 年底在一本新杂志《艺术》的第一期中发表了对法国画家爱德华·皮农 (Edouard Pignon) 作品的评论，这证明了巴黎高等学府的迷茫十字路口。在战争和占领的黑暗岁月之后疲惫和不确定的情况下，艺术家和评论家都肩负着人文主义的使命：辨别现代艺术哲学的关键方向，并将现在概念化为历史。本文考察了皮农 1940 年代中期的画作和里德关于欧洲艺术的论文中对这种历史编纂和美学危机的表述。 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 两者都公然表现出为调和传统与现代而进行的痛苦斗争的迹象，以产生令人信服的统一表现。