美国文化的崛起
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摘要
本文从绘画变迁的角度探讨从19世纪20年代至20世纪50年代期间美国文化萌芽、形成与发展的历程及其内容。文中关注的重点是美国文化发展过程中，各个阶层观念的变迁及对美国文化的影响，美国在坚持民族性与接受欧洲文化之间的博弈，以及美国文化在其自身传统和现代性之间的两难抉择。
全文分为七个部分。
绪论阐释了文化与权力之间联系、文化权力这一术语的来源、美国文化在全球的影响，回顾了国内外美国文化研究的现状，以及研究美国文化的意义，并简要陈述了本文从绘画艺术的视角研究美国文化的理由。
第1章是理论阐释。这一章的内容是解释如何利用艺术史的基本方法研究绘画的含义。我利用的是潘诺夫斯基的图像学方法和源自沃尔夫林并经其他学者，如弗莱发展完善的形式分析理论。对沃尔夫林等形式主义艺术史家来说，狭义的形式分析，如线条的节奏、色彩、空间、光影、体积、尺寸、机理、结构、比例等就构成了绘画分析的主体。但对像潘诺夫斯基这样的人文主义艺术史家而言，艺术的形式还包括主题、题材等更深刻的方面。因此，潘诺夫斯基的图像学解析方法比纯形式分析更深刻地揭示了绘画与社会观念之间的联系。不过，这两种方法仅仅构成了我分析绘画的基础，在涉及到绘画的解释以及社会象征含义时，我不得不借鉴在20世纪70年代出现的新马克思主义艺术史家的方法，以及在其影响下出现的女性主义艺术史的理论以及巴特的符号学理论。从绘画艺术产生的外部条件，比如，它产生的条件、市场反馈、主顾的要求、大众的反映等等对其含义加以限制。对理论方法的综合而灵活的运用则是我自己的创新，我把所有这些理论融合在一起，并提出了一种解释绘画艺术的新的模式，即以图像学、形式分析为基础，利用外部条件加以限制的研究模式。
本文第2章着重陈述了美国19世纪20年代出现的第一个本土绘画流派——哈德逊河画派。哈德逊河画派的出现与美国此时的领土扩张及日益高涨的民族主义观念有密切的关系。哈德逊河画派的风景画题材与美国的领土扩张几乎同步。
哈德逊河画派的画家们从描绘东海岸的哈德逊河河谷开始，追随着美国领土扩张的步伐，把画笔延伸至辽阔的西部领土直至太平洋沿岸，以及美国人觊觎不已的南美地区。这些画家以美国的本土景观入画，在题材上摆脱了欧洲风景画的窠臼，大大激发了美国人的民族情感。此外，哈德逊河画派的风景画也受美国本土的超验主义思潮的影响，其内容情调与欧洲风景画迥异。由此，我们可以把哈德逊河画派的出现视为美国本土文化意识显现的先声。
本文第3章分析了19世纪末20世纪初美国绘画艺术特征。这一时期的美国绘画艺术在趣味上体现出多元化的特征，并且深受欧洲的影响。从内战结束至第一次世界大战爆发前，各种艺术流派纷纷兴起，但没有任何一个流派像19世纪中期流行的哈德逊河画派风景画那样既有明确的美国性，又广受大众的欢迎。19世纪下半叶，美国的各个阶层表现出明显不同的趣味。一般而言，大企业主等上层比较青睐欧洲传统名家的作品，他们的趣味直接促进了美国艺术博物馆和私人画廊的繁荣。中产阶层（指上层和中层）的趣味较为复杂，他们既关注欧洲艺术的最新发展，又倾向于扶持本国画家。中下层则表现出对美国传统画家的兴趣。美国上层热爱欧洲的传统文化，但他们的欧化趣味显然无法成为一个国家的民族认同的基础。处于上升阶段的中产阶级在1913年前的影响力有限，而且他们的趣味并不确定。因此，在探索美国性的道路上，美国绘画形成了诸多派别，如霍默的乡土美国，“垃圾箱派”的城市美国以及斯蒂尔格利兹等追求的现代性的美国。1913年的军械库展览使美国人，尤其是中产阶级意识到了自己的保守和封闭，促使美国人以后真正接受现代主义的观念。美国民族艺术的形成还尚需时日。
第4章涉及两次世界大战之间的美国艺术。两次世界大战期间，美国实力的大幅提升再次催生了美国人民的民族主义情绪。1913年的军械库展览搅动了美国的艺术界，使大多数美国人第一次认识到欧洲的现代主义观念。然而，此时美国人他们思考的是如何保持美国的传统，而非发展。这种意识促使他们排斥现代主义观念，将其视为欧洲文明的又一次入侵，而非美国自然发展的一个阶段。这种意识使美国进入了一个相对保守、停滞的阶段。此阶段的美国绘画艺术体现为象征美国传统的现实主义与象征现代主义的抽象艺术之间的对立。美国的现代主义艺术在这一期间受到冷遇，被认为是非美国的艺术。
第5章阐述了现代主义艺术在美国的崛起。第二次世界大战结束以后，美国
又产生了第一个本土现代主义艺术流派——抽象表现主义。从20世纪50年代起，抽象表现主义成为美国文化的象征，50年代末以后，抽象表现主义开始成为西方的主流艺术。抽象表现主义有深深的欧洲根源。然而，美国艺术家在欧洲的当代艺术观念的基础上融进了更广阔的非欧洲因素，将之发展成为一种世界性的艺术风格。从抽象表现主义在美国及欧洲的风行中，我们观看到美国观念意识的巨大变化。美国由以前保守而狭隘的民族主义意识，转变为一种开放的现代主义的观念意识。这种观念不仅适应了工业化的发展进程，而且具备普世性的特征，故而能够被欧洲及世界其它国家接受以及效仿。从这个意义上来讲，美国在这个时期真正成为一个世界性的文化大国。最后，我尝试着用美国绘画艺术的市场表现数据验证美国文化崛起的历程。结果，图表的曲线图与我在前面章节的论述几乎完全一致，这验证了我的观察，也表明美国艺术市场行情的涨跌与美国文化实力之间有直接的关联。
结语部分是对前文的综述和补充。在这一部分中，作者对第一章理论部分疏漏之处作了补充，解释了绘画作为图像资料的意义。同时，作者阐述了美国文化与认同之间的关系，以及欧洲的现代主义文化在美国文化形成过程中的作用。最终，作者给出这样的结论：在一个国家的文化发展过程中，知识精英对一个国家的文化认同有极其重要的意义；并且，要保持一个国家文化的强大，开放和进取之心是必不可少的要素。
In this dissertation, it describes the development and characters of American culture from the painting perspective. During the period from1820's to1950's, the American school painting did not appear till the1820's and it cost American another100years or more to build its own culture identity which will be widely accepted by the Europeans. During this period, it witnessed American struggling between the modernity and tradition, nationalism and Europeanism. In the end, American has become a great nation of culture when it transcended its narrowness and conservatism, bought the ideas of modernity and took modern European heritages.
It has seven parts.
In preface, I explained the relations between culture and power, the origins of cultural power as an obvious phenomenon, and the effects of American culture on globe. I also reviewed the research history and results about American culture both in and out China, and stated the point why panting can be used as history evidence and completely fulfill this job.
Chapter I was about the theories and methods of how to explain a painting. Basically, I used Heinrich Wolfflin's formal analysis and Panofsky's iconography to analyze the content and ideas of a particular work. However, it is necessary to go further to get its symbolic meaning and corrective explanation nearer to the original one. We then need to consider the outer limited conditions about the process of producing and selling a painting, for example, its patronage, exhibition history, art critical responses, popularity, and so on. So I suggest a model to analyze a particular painting. This model is based on formal analysis and iconography, and borrowed the theory of semiotics to conclude its symbolic meaning, but limited by its outer producing and selling conditions.
Chapter II described the first American painting school during the1920's. The appearance of Hudson River School coincided with the expansion of American lands and the growing tide of nationalism. The most common themes in the works by the painters of Hudson River School are American landscapes, which range from the eastern valley of Hudson River to the western Great Plains, mountains and the Pacific coastal areas, even includes the South America. These landscape paintings totally discarded the limitation of European themes and classical tastes and greatly inspired American patriotism. During this period, American landscape paintings were highly praised by most Americans and sold very well with extremely high price. So we can treat the appearance of Hudson River School as the beginning of American culture.
Chapter Ⅲ dealt with the characteristics of American panting during the end of the19th century and the beginning of the20th century. The tastes for painting art in this period were multivariate and dominated by European one. Since the second half of the19th century, the varied tastes for art are determined according to their social identities. Generally, the most upper class inclined to buy the classical masterpieces by European traditional masters, and their tastes dominated the American art market and promoted the foundation of the earliest public American art museums and private art galleries. On the contrary, the new rising upper middle class liked both American contemporary works and the latest paintings by European avant-gardes. The lower middles were then more interested in American traditional painters, especially the one from the eye-foiling school. Obviously, the tastes of most wealthy class couldn't be widely accepted by most Americans. However, at this point, the wealth of the most promising upper middles wasn't enough to support a national modern art school. While there were varied art schools which competed with each other to explore the road to modern American art, the total acceptance of modernism had to be delayed till the next century.
Chapter Ⅳ analyzed the features of American painting during the two World Wars. The Armory Show in1913had ever excited the Americans to know more about the modern European ideas. Unfortunately, although America has become the most powerful nation of the world in this period, it coincided with the rising of American nationalism and the isolationism. The popularity of nationalism tide led most Americans prefer to keep their own traditions rather than learn from modern European culture. Moreover, this conservative and narrow mind made Americans viewed modernism as a new cultural invasion by Europeans other than a natural and necessary advanced stage in America. Since the end of1910s, the American abstract paintings have been overlooked, mocked and resisted by most Americans. The characteristics of American culture during this period were rather conservative, dull, static, and even backward.
Chapter V featured the rising and popularity of American contemporary modernist art both in America and Europe. At the end of the World War II, we witnessed the birth of the first modernist American painting school--the New York school or the abstract expressionism. The abstract expressionism has become the symbol of American culture since the1950's and was highly commended and modeled after by European art critics and artists by the end of1950's. Since then, the abstract expressionism became one of the canons of western arts. The abstract expressionism has its roots in European modernism, however, the American artists created a new style by merging other non-European themes and ideas into their creations, for example, the North American Indian tribe tales, and the widely circulated prehistory myths. To some extent, it has created an art school both America and worldwide. Certainly, the United States at this time became a great cultural power in the world.
The epilogue was a supplement and conclusion. In this part, the author went further in the methodology of the art of painting, explained the role of paintings as qualified sources is as important as written documents. In addition, the author stated the key role about the elite class helping shaping American identity. Further, the author also explained how the European modern culture helps molding the American culture. In the end, the author concluded that the importance of elite class to the culture in a state, and how important a country should always keep its mind open.
全文分为七个部分。
绪论阐释了文化与权力之间联系、文化权力这一术语的来源、美国文化在全球的影响，回顾了国内外美国文化研究的现状，以及研究美国文化的意义，并简要陈述了本文从绘画艺术的视角研究美国文化的理由。
第1章是理论阐释。这一章的内容是解释如何利用艺术史的基本方法研究绘画的含义。我利用的是潘诺夫斯基的图像学方法和源自沃尔夫林并经其他学者，如弗莱发展完善的形式分析理论。对沃尔夫林等形式主义艺术史家来说，狭义的形式分析，如线条的节奏、色彩、空间、光影、体积、尺寸、机理、结构、比例等就构成了绘画分析的主体。但对像潘诺夫斯基这样的人文主义艺术史家而言，艺术的形式还包括主题、题材等更深刻的方面。因此，潘诺夫斯基的图像学解析方法比纯形式分析更深刻地揭示了绘画与社会观念之间的联系。不过，这两种方法仅仅构成了我分析绘画的基础，在涉及到绘画的解释以及社会象征含义时，我不得不借鉴在20世纪70年代出现的新马克思主义艺术史家的方法，以及在其影响下出现的女性主义艺术史的理论以及巴特的符号学理论。从绘画艺术产生的外部条件，比如，它产生的条件、市场反馈、主顾的要求、大众的反映等等对其含义加以限制。对理论方法的综合而灵活的运用则是我自己的创新，我把所有这些理论融合在一起，并提出了一种解释绘画艺术的新的模式，即以图像学、形式分析为基础，利用外部条件加以限制的研究模式。
本文第2章着重陈述了美国19世纪20年代出现的第一个本土绘画流派——哈德逊河画派。哈德逊河画派的出现与美国此时的领土扩张及日益高涨的民族主义观念有密切的关系。哈德逊河画派的风景画题材与美国的领土扩张几乎同步。
哈德逊河画派的画家们从描绘东海岸的哈德逊河河谷开始，追随着美国领土扩张的步伐，把画笔延伸至辽阔的西部领土直至太平洋沿岸，以及美国人觊觎不已的南美地区。这些画家以美国的本土景观入画，在题材上摆脱了欧洲风景画的窠臼，大大激发了美国人的民族情感。此外，哈德逊河画派的风景画也受美国本土的超验主义思潮的影响，其内容情调与欧洲风景画迥异。由此，我们可以把哈德逊河画派的出现视为美国本土文化意识显现的先声。
本文第3章分析了19世纪末20世纪初美国绘画艺术特征。这一时期的美国绘画艺术在趣味上体现出多元化的特征，并且深受欧洲的影响。从内战结束至第一次世界大战爆发前，各种艺术流派纷纷兴起，但没有任何一个流派像19世纪中期流行的哈德逊河画派风景画那样既有明确的美国性，又广受大众的欢迎。19世纪下半叶，美国的各个阶层表现出明显不同的趣味。一般而言，大企业主等上层比较青睐欧洲传统名家的作品，他们的趣味直接促进了美国艺术博物馆和私人画廊的繁荣。中产阶层（指上层和中层）的趣味较为复杂，他们既关注欧洲艺术的最新发展，又倾向于扶持本国画家。中下层则表现出对美国传统画家的兴趣。美国上层热爱欧洲的传统文化，但他们的欧化趣味显然无法成为一个国家的民族认同的基础。处于上升阶段的中产阶级在1913年前的影响力有限，而且他们的趣味并不确定。因此，在探索美国性的道路上，美国绘画形成了诸多派别，如霍默的乡土美国，“垃圾箱派”的城市美国以及斯蒂尔格利兹等追求的现代性的美国。1913年的军械库展览使美国人，尤其是中产阶级意识到了自己的保守和封闭，促使美国人以后真正接受现代主义的观念。美国民族艺术的形成还尚需时日。
第4章涉及两次世界大战之间的美国艺术。两次世界大战期间，美国实力的大幅提升再次催生了美国人民的民族主义情绪。1913年的军械库展览搅动了美国的艺术界，使大多数美国人第一次认识到欧洲的现代主义观念。然而，此时美国人他们思考的是如何保持美国的传统，而非发展。这种意识促使他们排斥现代主义观念，将其视为欧洲文明的又一次入侵，而非美国自然发展的一个阶段。这种意识使美国进入了一个相对保守、停滞的阶段。此阶段的美国绘画艺术体现为象征美国传统的现实主义与象征现代主义的抽象艺术之间的对立。美国的现代主义艺术在这一期间受到冷遇，被认为是非美国的艺术。
第5章阐述了现代主义艺术在美国的崛起。第二次世界大战结束以后，美国
又产生了第一个本土现代主义艺术流派——抽象表现主义。从20世纪50年代起，抽象表现主义成为美国文化的象征，50年代末以后，抽象表现主义开始成为西方的主流艺术。抽象表现主义有深深的欧洲根源。然而，美国艺术家在欧洲的当代艺术观念的基础上融进了更广阔的非欧洲因素，将之发展成为一种世界性的艺术风格。从抽象表现主义在美国及欧洲的风行中，我们观看到美国观念意识的巨大变化。美国由以前保守而狭隘的民族主义意识，转变为一种开放的现代主义的观念意识。这种观念不仅适应了工业化的发展进程，而且具备普世性的特征，故而能够被欧洲及世界其它国家接受以及效仿。从这个意义上来讲，美国在这个时期真正成为一个世界性的文化大国。最后，我尝试着用美国绘画艺术的市场表现数据验证美国文化崛起的历程。结果，图表的曲线图与我在前面章节的论述几乎完全一致，这验证了我的观察，也表明美国艺术市场行情的涨跌与美国文化实力之间有直接的关联。
结语部分是对前文的综述和补充。在这一部分中，作者对第一章理论部分疏漏之处作了补充，解释了绘画作为图像资料的意义。同时，作者阐述了美国文化与认同之间的关系，以及欧洲的现代主义文化在美国文化形成过程中的作用。最终，作者给出这样的结论：在一个国家的文化发展过程中，知识精英对一个国家的文化认同有极其重要的意义；并且，要保持一个国家文化的强大，开放和进取之心是必不可少的要素。
In this dissertation, it describes the development and characters of American culture from the painting perspective. During the period from1820's to1950's, the American school painting did not appear till the1820's and it cost American another100years or more to build its own culture identity which will be widely accepted by the Europeans. During this period, it witnessed American struggling between the modernity and tradition, nationalism and Europeanism. In the end, American has become a great nation of culture when it transcended its narrowness and conservatism, bought the ideas of modernity and took modern European heritages.
It has seven parts.
In preface, I explained the relations between culture and power, the origins of cultural power as an obvious phenomenon, and the effects of American culture on globe. I also reviewed the research history and results about American culture both in and out China, and stated the point why panting can be used as history evidence and completely fulfill this job.
Chapter I was about the theories and methods of how to explain a painting. Basically, I used Heinrich Wolfflin's formal analysis and Panofsky's iconography to analyze the content and ideas of a particular work. However, it is necessary to go further to get its symbolic meaning and corrective explanation nearer to the original one. We then need to consider the outer limited conditions about the process of producing and selling a painting, for example, its patronage, exhibition history, art critical responses, popularity, and so on. So I suggest a model to analyze a particular painting. This model is based on formal analysis and iconography, and borrowed the theory of semiotics to conclude its symbolic meaning, but limited by its outer producing and selling conditions.
Chapter II described the first American painting school during the1920's. The appearance of Hudson River School coincided with the expansion of American lands and the growing tide of nationalism. The most common themes in the works by the painters of Hudson River School are American landscapes, which range from the eastern valley of Hudson River to the western Great Plains, mountains and the Pacific coastal areas, even includes the South America. These landscape paintings totally discarded the limitation of European themes and classical tastes and greatly inspired American patriotism. During this period, American landscape paintings were highly praised by most Americans and sold very well with extremely high price. So we can treat the appearance of Hudson River School as the beginning of American culture.
Chapter Ⅲ dealt with the characteristics of American panting during the end of the19th century and the beginning of the20th century. The tastes for painting art in this period were multivariate and dominated by European one. Since the second half of the19th century, the varied tastes for art are determined according to their social identities. Generally, the most upper class inclined to buy the classical masterpieces by European traditional masters, and their tastes dominated the American art market and promoted the foundation of the earliest public American art museums and private art galleries. On the contrary, the new rising upper middle class liked both American contemporary works and the latest paintings by European avant-gardes. The lower middles were then more interested in American traditional painters, especially the one from the eye-foiling school. Obviously, the tastes of most wealthy class couldn't be widely accepted by most Americans. However, at this point, the wealth of the most promising upper middles wasn't enough to support a national modern art school. While there were varied art schools which competed with each other to explore the road to modern American art, the total acceptance of modernism had to be delayed till the next century.
Chapter Ⅳ analyzed the features of American painting during the two World Wars. The Armory Show in1913had ever excited the Americans to know more about the modern European ideas. Unfortunately, although America has become the most powerful nation of the world in this period, it coincided with the rising of American nationalism and the isolationism. The popularity of nationalism tide led most Americans prefer to keep their own traditions rather than learn from modern European culture. Moreover, this conservative and narrow mind made Americans viewed modernism as a new cultural invasion by Europeans other than a natural and necessary advanced stage in America. Since the end of1910s, the American abstract paintings have been overlooked, mocked and resisted by most Americans. The characteristics of American culture during this period were rather conservative, dull, static, and even backward.
Chapter V featured the rising and popularity of American contemporary modernist art both in America and Europe. At the end of the World War II, we witnessed the birth of the first modernist American painting school--the New York school or the abstract expressionism. The abstract expressionism has become the symbol of American culture since the1950's and was highly commended and modeled after by European art critics and artists by the end of1950's. Since then, the abstract expressionism became one of the canons of western arts. The abstract expressionism has its roots in European modernism, however, the American artists created a new style by merging other non-European themes and ideas into their creations, for example, the North American Indian tribe tales, and the widely circulated prehistory myths. To some extent, it has created an art school both America and worldwide. Certainly, the United States at this time became a great cultural power in the world.
The epilogue was a supplement and conclusion. In this part, the author went further in the methodology of the art of painting, explained the role of paintings as qualified sources is as important as written documents. In addition, the author stated the key role about the elite class helping shaping American identity. Further, the author also explained how the European modern culture helps molding the American culture. In the end, the author concluded that the importance of elite class to the culture in a state, and how important a country should always keep its mind open.
引文
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①这是中国学者曹卫东根据哈贝马斯和德里达于2003年5月31日联名在德国《法兰克福汇报》和法国《解放报》发表的《论欧洲的复兴：首先在核心欧洲捍卫一种共同的外交政策》一文翻译而成，全部译文见http://blog.renren.com/share/255756054/7421903348
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①王晓德.对全球“美国化”的一种重新审视[J]学术研究2006(4):99-106；及王晓德.“美国化”与德国反美主义的文化释读[J]安徽史学2008（2）:24-35.
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②爱默生的演讲被美国著名的大法官霍姆斯（O.W.Holmes，1841-1935）誉为“我们思想上的独立宣言”，引自涂纪亮.美国哲学史(1)[M].北京：社会科学文献出版社，2007:223.
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①John K.Howat, The Hudson River[J].The Metropolitan Museum of Art Bulletin,1972,30(6):274.也可参见wikipeda,Philip Hone[EB/OL].http://en.wikipedia.org/wiki/philip Hone.
①哈德逊河画派的流行和鼎盛时期一般认为是从19世纪20年代到内战结束左右。参见John Gladstone, Socia Realism in American Art: The Generation of1876[J]. The Journal of Decorative and Propaganda Arts,1994,20:117.
②Carol Troyen, Retreat to Arcadia The American landscape and the Art Union[J], The American Art Journal,199123, No(1):31同时参见Wikipedia, American Art-Union[EB/OL]. http://en.wikipedia.org/wiki/American Art-Union.
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②DonaldA. Ringe.Kindred Spirits:Bryant and Cole[J].American Quarterly,1954,6(3):233-244.
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①The Metropolitan Museum, Frederic Edwin Church [EB/OL] http://www.metmuseum.org/toah/hd/chur/hd chur.htm
②关于丘奇《冰山》的象征意义,见Timothy Mitchell,. Frederic Church's "The Icebergs":Erratic Boulders and Time's Slow Changes,[J] Smithsonian Studies in American Art,1989,3(4):2-23.
①ry Theodore Tuckerman. Book of the Artists:American Artist Life [M].New York: G. P. Putnam,1867:371.转引自Timothy Mitchell, p.4.
②evin J. Avery."The Heart of the Andes"Exihibited: Frederic E.Church's Window on the Equatorial World[J]. American Art Journal,1986,18(1):59.
①滕海键.世界视野中的美国荒野史研究——从罗德里克·纳什及其《荒野与美国精神》说起[J].辽宁大学学报,2012,40（4）:148.
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④[美]E.潘诺夫斯基.圣德尼修道院院长絮吉尔[M]//E.潘诺夫斯基著，傅志强译.视觉艺术的含义.沈阳：辽宁人民出版社，1987:167.
⑤[意]乔治·瓦萨里.布鲁内莱斯基[M]//乔治·瓦萨里著，刘明毅译，著名画家、雕塑家、建筑家传.北京： 中国人民大学出版社,200：59-76页.
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④Carol Troyen,.31.
⑤avid Huntington. Introduction[M]//Carr, Gerald Lawrence Carr, Frederic Edwin Church: The Icebergs. Dallas: Dallas Museum of Fine Arts,1980:pp.18-19.转引自Timothy Mitchell, p.4.
①关于杜兰德、比尔斯塔特的绘画和宗教的联系,参见前文第4节的叙述。
②Richard Mclanathan. Art in America: ABrief History[M]. Harcourt Brace Jovanovich Publishers,1991:118-119.
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③1928年,画商詹泊尔在参观前哥伦比亚艺术展时,惊异地发现美国人居然把印第安人精美的艺术品陈列在自然博物馆内。见[法]雷奈·詹泊尔著,李嘉熙、文佩琳译.画商詹泊尔日记[M].北京：广西师范大学出版社,2003：414.
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③Elizabeth Broun,.Childe Hassam's America[J],46.
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③雷奈·詹泊尔,画商詹泊尔日记[M]：351-355,356-359,361.
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③ikipedia, Duveen Brothers[EB/OL].http://en.wikipedia.org/wiki/Duveen_Brothers, Wikipedia, Joseph Duveen [EB/OL].http://en.wikipedia.org/wiki/Joseph Duveen,1st Baron Duveen
④he Art Institute of Chicago. The Century of Progress Exhibition of The Fine Arts[J]. Bulletin of the Art Institute of Chicago,1933,27(4):58.
⑦法国画商詹泊尔在《画商詹泊尔日记》中详细记录了他和美国富豪之间的生意往来。詹泊尔发现这些富豪中唯独福特品味恶劣,对艺术没有兴趣,也不购买艺术品。见雷奈·詹泊尔,342-343.
①[美]见图表2-3,凯文菲利普斯著,王吉美译.一本书读懂美国财富史[M].北京：中信出版社,2010：59-60.
②雷奈·詹泊尔,113,195.
③[美]南希·艾因瑞恩胡弗著,金眉译.美国艺术博物馆[M].长沙：湖南美术出版社,2007：3540.
④南希·艾因瑞恩胡弗,美国艺术博物馆[M].3639.
⑤enyon Cox. A liberalized Academy [J]. The Burlington Magazine for Connoisseurs,1907,11(53):341也参见Christine Ⅰ. Oaklander. Clara Davidge's Madison Art Gallery:Sowing the Seed for The Armory Show[J]. Archives of American Art Journal,1996,36(3/4):22.
①Christine L. Oaklander, Clara Davidge's Madison Art Gallery:Sowing the Seed for The Armory Show [J]:.22.
①Harvey M. Watts. Sargent and a Hundred Years of Art in America. Bulletin of the Pennsylvania Musuem,1925,21(96):12.
②李家祺.萨金特：世纪水彩画大师[M].石家庄：河北教育出版社,2001.
③萨金特的《X夫人》原名《高屈奥夫人》。该画因为真实描绘了高屈奥夫人挑逗的形象而受到观众的抵制,艺术家不得不将此画收回修改。此次事件大大挫伤了萨金特在肖像画领域的创新决心
①Richard Shone.Sargent and the Edwardian Age[J]. The Burlington Magazine,1979,11(917):532-536.
Patrick McCaughey.Native and Nomad: Winslow Homer and John Singer Sargent.[J].Daedalus,1987,116(1):133-153.
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②Patrick McCaughey, Native and Nomad:Winslow Homer and John Singer Sargent[J]:136.
①Alfred Frankenstein. Harnett, True and False[J]. The Art Bulletin,1949,31,(1):38.
②Doreen Bolger."Cards and Letters from His Friends":Mr. Hulings'Rack Picture by William Michael Harnett[J]. American Art Journal,1990,22(2):13.
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①李家祺著.伊肯斯[M].石家庄：河北教育出版社，2005:26.
①William Innes Homer. The Exhibition of'The Eight:Its History and Significance[J]. American Art Journal,1969,1(1):60.
②Judith Zilczer.The Eight on Tour,1908-1909[J]. American Art Journal,1984,16,(3):29-30.
①苏珊·戴维森,美国艺术三百年：适应与革新[M],155.
②Judith Zilczer, Alfred Stie glitz and John Guinn:Allies in the American Avant-Garde[J]..35-37.
③arbara Rose, American Art Since1900[M], pp.9
①Paintings on View at Academy of the Fine Arts[N] Philadelphia Public Ledger,1908-03-08(16).转引自Judith Zilczer,.30.
②Barbara Rose, American Art Since1900[M],.30.
①苏珊·戴维森，美国艺术三百年：适应与革新[M]，196-197.
②苏珊·戴维森，美国艺术三百年：适应与革新[M]，197.
①Barbara Rose, American Art Since1900[M],.59.
②rank Anderson Tapp,. The Armory Show:A Review[J]. Art Journal,1963,23,(1):4.
③Barbara Rose, American Art Since1900[M],.59.
①Barbara Rose, American Art Since1900[M],.57-59.
②Theodore Roosevelt. A Layman's Views of an Art Exhibition[M]//John W. McCoubrey ed., American Art:1700-1960; Sources and Documents. Englewood, N.J.:Prentice-Hall,1965:191-192.
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②][美]斯坦利·L·恩格尔曼,罗伯特·E·高尔曼主编,剑桥美国经济史第3卷：20世纪[M],43.
③斯坦利·L·恩格尔曼,罗伯特·E·高尔曼,剑桥美国经济史第3卷：20世纪[M].37.
①[美]米尔斯，周晓红译.白领：美国的中产阶级[M].南京：南京大学出版社，2006年:49-50.
②[美]保罗·福塞尔著，梁丽真、乐涛、石涛译.格调：社会等级与生活品味[M].北京：世界图书出版社，2011:21-27.米尔斯，49-50.
③加里·纳什,751
④斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M].408.
①斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M].414.
②斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M].414.
③福塞尔，梁丽真、乐涛、石涛译.格调：社会等级与生活品味[M]，3-35.
①加里·纳什，美国人民[M],710。
②][瑞典]奥维·洛夫伦格，乔纳森·弗雷克曼著，赵丙祥、罗扬等译.美好生活：中产阶级的生活史[M].2011:12.
③]奥维·洛夫伦格，乔纳森·弗雷克曼，美好生活：中产阶级的生活史[M],32.
①Rhodes Johnson. In Defense of Abstract Art[J]. Parnassus,1940,12,(8):9-10.
①Abraham A. Davidson.Cubism and the Early American Modernist[J]. Art Journal,1966-1967,26(2):123.
②Barbara Rose, American Art since1900[M],.66
①在30年代,美国不能识字的成年人有600万；到40年代,美国的人口增加了800万,而不能识字的成年人的数目下降至300万,这充分表明罗斯福新政使大众大大受益了Merle Curtis. The Growth of American Thought[M]. New Brunswick and London: Harper&Row, Inc,1982:721.
②tuart Davis.Abstract Art in the American Scene[J]. Parnassus,1941,13(3):100-103戴维斯在文中驳斥了当时美国流行的对抽象艺术的看法,这恰好表明美国人认为抽象艺术是“为艺术而艺术”,题材非具象的特征。
①Gail Stavitsky. A. E. Gallatin's Gallery and Museum of Living Art (1927-1943)[J]. American Art,1993,7(2):47-63.
②Douglas K. S. Hyland. Agnes Ernst Meyer, Patron of American Modernism[J]. American Art Journal,1980,12(1):64-81.
③Gail Stavitsky, A. E. Gallatin's Gallery and Museum of Living Art (1927-1943)[J].,47.
①[美]克莱门特·格林伯格著，沈语冰译.前卫与庸俗[M]//艺术与文化.桂林：广西师范大学出版社，2009:5.
①Malcolm Bradbury.The Nonhomemade World:European and American Modernism[J].American Quarterly,1987,39(1):27-36.
②Judith Zilczer,. The World's New Art Center: Modern Art Exhibition in New York City[J]. Archives of American Art Journal,1974,14(4),:.2-7.
①Matthew Baigell. The Beginning of'The American Wave'and the Depression[J]. Art Journal,1968,27(4):388.
②Matthew Baigell, The Beginning of'The American Wave'and the Depression[J],.391.
③ita Wellman.Pioneers and Contemporaries[J]. Parnassus,1934,6(1):12.
④udith Zilczer. Beyond Genealogy, American Modernism in Retrospect[J]. American Art,2001,15(1):4.
⑤Stuart Davis. Abstract Art in the American Scene[J]. Parnassus,1941,13(3):103.
⑥College Art Association. The Search for America[J]. Parnassus,1938,10(7):21.
①Judith Zilczer. Alfred Stieglitz and John Guinn: Allies in the American Avant-Garde[J].American Art Journal,1985,17(3):18-33.
②Judith Zilczer,. Alfred Stieglitz and John Guinn: Allies in the American Avant-Garde,p.29.
③lTimothy Robert Rodgers. Alfred Stieglitz, Duncan Phillips and the＄6000Marin[J]. Oxford Art Journal,1992,15(l):4-66.
①Barbara Rose, Ainerican Art Since1900[M],.75.
①April J. Paul. Byron Brown in the Thirties:The Battle for Abstract Art[J]. Archives of American Art Journal,1979,19(4):23.
②pril J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],10-11.
③April J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],10-11.
④April J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],.20.
①April J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],.22.
①]关于美国这一阶段的城市化水平,详见4.1.1城市化水平与新旧价值观的冲突这一节的论证。
①Wanda M. Corn.The Birth of a National Icon: Grant Wood's "American Gothic"[J].Art Institute of Chicago Museum Studies,1983,10:252.
①Elizabeth Broun. Thomas Benton, A Politician in Art, p.59.
②Matthew Baigell. Thomas Hart Benton in the1920's,.429.
①Barbara Rose, American Art since1900[M],107.
②苏珊·戴维森,美国艺术三百年：适应与革新[M],204.
①何政广主编,李家祺文.格兰特·伍德[M].石家庄：河北教育出版社,2005：81.
②Matthew Baigell坚持认为伍德描绘的爱荷华的地方题材都是对乡村生活的讽刺,包括这幅著名的《美国的哥特式》,见Matthew Baigell. Grant Wood Revisited[J]. Art Journal,1966-1967,26(2):116-122.
③anda M. Corn, The Birth of a National Icon:Grant Wood's "American Gothic"[J],255.
④atthew Baigell,. Grant Wood Revisited[J],118
⑤The Art Institute of Chicago, American Gothic [EB/OL].http://www.artic.edu/aic/collections/artwork/6565
①H.W. Janson. The International Aspects of Regionalism[J]. College Art Journal,1943,2(4):114.
②H.W. Janson, The International Aspects of Regionalism[J],111.
③Wanda M. Corn, The Birth of a National Icon: Grant Wood's "American Gothic"[J],255
①加里·纳什，美国人民[M],745-755，763.
②加里·纳什，美国人民[M],745.
①[美]克莱门特·格林伯格.“美国式”绘画[M].克莱门特·格林伯格著，沈语冰译.艺术与文化,桂林：广西师范大学出版社，2009:251,271.
②斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M]，90,表格2.8
①胡小芬，郭飞根.罗斯福时代的美国欧洲犹太知识移民政策（1933-1945）[J].理论月刊2008,7:140-142.
①凯文·菲利普斯,王吉美译.一本书读懂美国财富史[M].,82.
②凯文·菲利普斯,王吉美译.一本书读懂美国财富史[M].,80-81.
③斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M]，560页，表10.3
①Barbara Rose, American Art Since1900[M],130.
②Alexander Calder. Alexander Calder: What Abstract Art Means to Me,1951[M]//John W. McCoubrey,209.
①Barbara Rose, American Art Since1900[M],131.
②Susan Noyes Platt. Modernism, Formalism, and the Museum of Modern Art[J]. Art Journal,1988,47(4):284-295.
①Susan Noyes Platt, Modernism, Formalism, and Politics:The "Cubism and Abstract Art" Exhibition of1936and the Museum of Modern Art[J],284-295
②Barbara Rose, American Art Since1900[M],97.
③ackson Pollock. Jackson Pollock: Two Statements on His Painting,1944,1947[M]//John W. McCoubrey ed,212.
④tuart Davis. Two Statements on His Painting,1940,1943[M].//John W. McCoubrey ed,207-208.
⑤Barbara Rose, American Art Since1900[M],97.
①Susan C. Larsen. The American Abstract Artists:A Documentary History1936-1941[J]. Archives of American Art Journal,1974,14(1):2-7.
②April J. Paul, Byron Browne in the Thirties:The battle for Abstract Art,11.
③eirdre Robson. The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance[J]. Archives of American Art Journal,1990,30(1/4):118,注释4.
①Edith G. Halpert. The Function of the Dealer[J]. College Art Journal,1949,9(1):56.
②]此时,美国艺术市场的行情依然是欧洲名家的艺术品价格极高,非一般中产阶级的财力可以承受。而美国现代主义艺术才刚刚进入市场,要价一般比较低,在中产阶级的承受范围内。关于中产阶级的艺术趣味参见第4章
②Deirdre Robson, The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance [J],115.
④见附录1.
①对瑞斯夫妇的介绍,参见何政广主编,曾长生著.现代主义绘画大师,罗斯柯[M].北京：文化艺术出版社,2011：100.
②Deirdre Robson, The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance [J],117.
③arholstars, abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism55.html
①约翰和多米尼克·德·梅尼尔夫妇是当时著名的艺术赞助人和收藏家,约翰是纽约国际艺术研究的创建人。夫妇二人移居美国后,约翰成为著名的斯伦贝谢公司拉丁分部及中东和远东分部的总裁。
②表格的数据源于Warholstars, Abstractexpressionsm [EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism58.html对罗斯柯历年作品售出情况的记录。
①何政广主编，曾长生著.现代主义绘画大师，罗斯柯[M],121.
①Robert C. Hobbs. Early Abstract Expressionism and Surrealism[J]. Art Journal,1985,45,(4):299.
②Robert C. Hobbs, Early Abstract Expressionism and Surrealism[J],299.
①何政广主编,曾长生等著.恩斯特[M].石家庄：河北教育出版社,2005：62-83.
②Robert C. Hobbs, Early Abstract Expressionism and Surrealism[J],300.
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①[瑞士]荣格.四个原型[M].伦敦：1972：3-4.转引自胡经之主编,荣格分析心理学理论及其文艺思想[M]//西方文艺理论名著教程.北京：北京大学出版社,1989：143-144.
②荣格.四个原型[M],145.
③Alicja Kepinska and Patric Lee. Chaos as a Value in the Mythological Background of Action Painting[J]. Artibus et Historiae,1986,7(14):107.
④obert C. Hobbs, Early Abstract Expressionism and Surrealism[J],299-302.
①Robert C. Hobbs'Early Abstract Expressionism and Surrealism[J],300.
②][美]戴维·李明著,杨立新、冷杉译.欧洲神话的世界[M].北京：生活·读书·新知三联书店,2010：47.
①Richard P. Taylor, Adam P. Micolich, David Jonas."The Construction of Jackson Pollock's Fractal Drip Paintings", Leonardo,2002,35(2):203-205.
①Richard P. Taylor, Adam P. Micolich, David Jonas,"The Construction of Jackson Pollock's Fractal Drip Paintings",206-207.
①Warholstars, abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism48.html
②Warholstars, abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism49.html
①克莱门特·格林伯格,“美国式”绘画,251,271.
②Robert B.Hawkins. Contemporary Art and the Orient[J]. College Art Journal,1957,16(2):118-119.
①Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism55.html
②Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism56.html
③Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism59.html
④Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism50.html
⑤Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism56.html
①Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism60.html
①[法]弗雷德里克·马特尔著，周莽译.论美国的文化，在本土与全球之间双向运行的文化体制[M].北京：商务印书馆，2013:85.
①王晓德.“软实力”与美国大众文化的全球扩张[J].历史教学,2007,537(10):5.
②王晓德.二十世纪以来法国反美主义的文化释读[J].历史研究，2008(3):112-115.
①[法]弗雷德里克·马特尔著，周莽译.论美国的文化，在本土与全球之间双向运行的文化体制[M].北京：商务印书馆，2013:83-92.
②弗雷德里克·马特尔，论美国的文化，在本土与全球之间双向运行的文化体制[M]，90.
③弗雷德里克·马特尔，论美国的文化，在本土与全球之间双向运行的文化体制[M]，100-144.其中，卡特总统可能是个例外。
①苏珊·戴维森，美国艺术三百年：适应与革新[M],23.
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[46][美]米尔斯,周晓红译.白领：美国的中产阶级[M].南京：南京大学出版社,2006.
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[48][美]托马斯·帕特森著,顾肃、吕建高译.美国政治文化[M].北京：东方出版社,2007.
[49][美]潘诺夫斯基著,傅志强译.视觉艺术的含义[M].潘诺夫斯基,沈阳：辽宁人民出版社,1987.
[50][美]斯坦利·L·恩格尔曼,罗伯特·E·高尔曼主编,蔡挺、张林、李雅菁主译.剑桥美国经济史第3卷：20世纪[M].北京：中国人民大学出版社,2008.
[51][美]苏珊·戴维森主编,周郎、忻华、张少铎译.美国艺术三百年：适应与革新[M].上海：上海辞书出版社,2006.
[52][美]沃浓·路易·帕灵顿著,陈永国、李增、郭乙瑶译.美国思想史[M].长春：吉林人民出版社,2002.
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[54][美]威廉·曼彻斯特著,广州外国语学院美英问题研究室翻译组、朱协译,朔望、董乐山、关在汉校.光荣与梦想,1932-1972年美国社会实录[M].海口：海南出版社,三环出版社,2006.
[55][美]约翰·缪尔,周剑、朱华、林东威译.优山美地[M].桂林：漓江出版社,2008.
[56][英]约翰·伯格著,戴行钺译.观看之道[M].桂林：广西师范大学出版社,2005.
[57]John W. McCoubrey ed. American Art:1700-1960; Sources and Documents [M]. Englewood:Prentice-Hall,1965.
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[60]Mills, C. Wright. The Power Elite[M]. New York:Oxford University Press,1956.
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[63]Stokstad, Marilyn. Art History[M]. Upper Saddle River:Prentice Hall, Inc. Simon&Schuster/A Viacom Company,1995.
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[1]The Art Institute of Chicago, American Gothic[EB/OL]. http://www.artic.edu/aic/collections/artwork/6565
[2]The Metropolitan Museum, Frederic Edwin Church [EB/OL]. http://www.metmuseum.org/toah/hd/chur/hd chur.htm
[3]warholstars, abstractexpressionism1948b[EB/OL]. http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism1948b.html
*注：抽象表现主义流派画家的售价主要依赖于warholstars.org这一网站,该网站按照年代顺序,对抽象表现主义画家的历年活动有详细叙述,恕不一一列出。
②[澳大利亚]马克·吉布森著，王加为译.文化与权力，文化研究史[M]北京：北京大学出版社，2012：1-3.
③关于葛兰西的霸权理论与马克思主义的联系及具体含义，参见李少军.论葛兰西的霸权理论[J]兰州学刊，1993(5):32-37；周凡.重读葛兰西的霸权理论[J]马克思主义与现实,2005(5):20-31.
①[英]迈克尔·曼著，刘北成，李少军译.社会权力的来源（第一卷）[M].上海：上海人民出版社，2002:30-32.
②刘德斌，“软权力”说的由来与发展[J]吉林大学社会科学学报，2004.(4):55-62.
③[美]塞缪尔·亨廷顿著，周琪译.文明的冲突与世界秩序的重建[M].北京：新华出版社，2010.
①这是中国学者曹卫东根据哈贝马斯和德里达于2003年5月31日联名在德国《法兰克福汇报》和法国《解放报》发表的《论欧洲的复兴：首先在核心欧洲捍卫一种共同的外交政策》一文翻译而成，全部译文见http://blog.renren.com/share/255756054/7421903348
②关于“美国化”的现象，见王晓德.对全球“美国化”的一种重新审视[J]学术研究2006(4):99-106；及王晓德.“美国化”与德国反美主义的文化释读[J]安徽史学2008（2）:24-35.
③[美]威廉·曼彻斯特著，广州外国语学院美英问题研究室翻译组、朱协译，朔望、董乐山、关在汉校，光荣与梦想，1932-1972年美国社会实录[M].海口：海南出版社，三环出版社，2006:348.
①Gene Wise, Paradigm Dramas" in American Studies:A Cultural and Institutional history of the Movement转引自赵可金.美国学——学科成长与中国意义[J]美国问题研究,2010(8)：102.
②[美]塞缪尔·亨廷顿著,程克雄译.谁是美国人?美国国民特性面临的挑战[M].北京：新华出版社,2010.
①钱满素.美国自由主义的变迁[M].北京：生活、读书、新知出版社，2006：2。
②孙仲.美国政治文化中的想现实主义[M]杭州：浙江大学出版社，2006:5-6
①关于狭义的文化的定义，参见阿雷恩·鲍尔德温等著，陶东风等译.文化研究导论[M]北京：高等教育出版社，2004:4-7
①王晓德.对全球“美国化”的一种重新审视[J]学术研究2006(4):99-106；及王晓德.“美国化”与德国反美主义的文化释读[J]安徽史学2008（2）:24-35.
①丹纳著，傅雷译.艺术哲学[M].合肥：安徽文艺出版社，1991:43-50.
②[瑞士]海因里希·沃尔夫林著，杨蓬勃译.艺术史的基本原理[M].北京：金城出版社，2011:6.
①[瑞士]海因里希·沃尔夫林著，沈莹译.文艺复兴与巴洛克[M].上海：世纪出版集团，上海人民出版社，2007:26-67.
①[美]潘诺夫斯基.肖像学与圣像学[M]//视觉艺术的含义.潘诺夫斯基著，傅志强译.沈阳：辽宁人民出版社,1987:34-37.
②[美]潘诺夫斯基：导言：作为人文主义一门学科的艺术史[M]//视觉艺术的含义.潘诺夫斯基著，傅志强译.沈阳：辽宁人民出版社,1987:17.
③[美]潘诺夫斯基.肖像学与圣像学[M]//视觉艺术的含义.潘诺夫斯基著，傅志强译.沈阳：辽宁人民出版社,1987:43-46.
①[美]潘诺夫斯基.肖像学与圣像学[M]//视觉艺术的含义.潘诺夫斯基著，傅志强译.沈阳：辽宁人民出版社,1987:46.
②[美]潘诺夫斯基.肖像学与圣像学[M]//视觉艺术的含义.潘诺夫斯基著，傅志强译.沈阳：辽宁人民出版社,1987:65-66.
①[英]约翰·伯格著,戴行钺译.观看之道[M].桂林：广西师范大学出版社，2005:87-122.
②郭晓川,西方美术史研究评述[M].哈尔滨：黑龙江美术出版社，2000:360-368.
①Nadine Sine, Cases of Mistaken Identity:Salome and Judith at the Turn of the Century [J].German Studies Review.1988.11(1):9-29.
②[英]阿雷恩·鲍尔德温等著,陶东风等译.文化研究导论[M].北京：高等教育出版社,2004：55.
①爱默生.美国学者[M]//吉欧·波尔泰编，赵一凡等译.爱默生集论文与讲演录(上).北京：生活·读书·新知三联书店，1993：62.
②爱默生的演讲被美国著名的大法官霍姆斯（O.W.Holmes，1841-1935）誉为“我们思想上的独立宣言”，引自涂纪亮.美国哲学史(1)[M].北京：社会科学文献出版社，2007:223.
③见图表《19世纪上半叶美国的领土扩张》，张友伦主编.美国通史(2)[M]:美国的独立和初步繁荣，1775-1860.北京：人民出版社，2002:251.
①[法]托克维尔著，董果良译.论美国的民主(下)[M].北京：商务印书馆，2008:597.
①John K.Howat, The Hudson River[J].The Metropolitan Museum of Art Bulletin,1972,30(6):274.也可参见wikipeda,Philip Hone[EB/OL].http://en.wikipedia.org/wiki/philip Hone.
①哈德逊河画派的流行和鼎盛时期一般认为是从19世纪20年代到内战结束左右。参见John Gladstone, Socia Realism in American Art: The Generation of1876[J]. The Journal of Decorative and Propaganda Arts,1994,20:117.
②Carol Troyen, Retreat to Arcadia The American landscape and the Art Union[J], The American Art Journal,199123, No(1):31同时参见Wikipedia, American Art-Union[EB/OL]. http://en.wikipedia.org/wiki/American Art-Union.
③ann Marybelle, The American Art-Union[M].Otisville, N.Y.,1977:1-2.转引自Carol Troyen, p.26.
④he American Art-Union, What has the American Art-Union Accomplished[J]. Bulletion of the American Art-Union,1849,2(7):8-19.
①Carol Troyen, Retreat to Arcadia: The American landscape and the Art Union[J],.35.
②Kevin J. Avery."The Heart of the Andes" Exihibited: Frederic E. Church's Window on the Equatorial World[J]. American Art Journal,1986.18(1):52.
③何政广主编.伊肯斯[M].石家庄：河北教育出版社,2005：57-59.
③atrick McCaughey. Native and Nomad:Winslow Homer and John Singer Sargent[J]. Daedalus,1987,116(1):134.
⑤章华.阿卡迪亚式的风景[M]//章华,思想的形状：西方风景画的意蕴.北京：北京大学出版社,2011：70.
①章华.康斯特布尔笔下乡村的沉思.[M]//章华，思想的形状：西方风景画的意蕴.北京：北京大学出版社，2011:179-224.
①[法]托克维尔,论美国的民主（下），597页。
②[美]爱默生.导言[M]//吉欧·波尔泰编，赵一凡等译.爱默生集论文与讲演录(上).北京：生活·读书·新知三联书店，1993：7.
①[美]爱默生.自然[M]//吉欧波尔泰编,赵一凡等译.爱默生集论文与讲演录(上).北京：生活读书新知三联书店,1993：10.
②DonaldA. Ringe.Kindred Spirits:Bryant and Cole[J].American Quarterly,1954,6(3):233-244.
③Asher Durand. Letters on Landscape Painting Ⅲ[J]. The Crayon,1855,1(5):66.
①王瑞芸.美国美术史话[M].北京：人民美术出版社,1998：29.②[美]爱默生.自然[M]//吉欧·波尔泰编，赵一凡等译.爱默生集论文与讲演录(上).北京：生活·读书·新知三联书店，1993：10.
①The Metropolitan Museum, Frederic Edwin Church [EB/OL] http://www.metmuseum.org/toah/hd/chur/hd chur.htm
②关于丘奇《冰山》的象征意义,见Timothy Mitchell,. Frederic Church's "The Icebergs":Erratic Boulders and Time's Slow Changes,[J] Smithsonian Studies in American Art,1989,3(4):2-23.
①ry Theodore Tuckerman. Book of the Artists:American Artist Life [M].New York: G. P. Putnam,1867:371.转引自Timothy Mitchell, p.4.
②evin J. Avery."The Heart of the Andes"Exihibited: Frederic E.Church's Window on the Equatorial World[J]. American Art Journal,1986,18(1):59.
①滕海键.世界视野中的美国荒野史研究——从罗德里克·纳什及其《荒野与美国精神》说起[J].辽宁大学学报,2012,40（4）:148.
②[英]查尔斯·狄更斯著，刘晓媛译.美国手记[M].厦门：鹭江出版社，2011:234-236.
③[英]安东尼·特罗洛普著，刘俊平译.北美游记[M].厦门：鹭江出版社，2011年:111.
④[美]E.潘诺夫斯基.圣德尼修道院院长絮吉尔[M]//E.潘诺夫斯基著，傅志强译.视觉艺术的含义.沈阳：辽宁人民出版社，1987:167.
⑤[意]乔治·瓦萨里.布鲁内莱斯基[M]//乔治·瓦萨里著，刘明毅译，著名画家、雕塑家、建筑家传.北京： 中国人民大学出版社,200：59-76页.
①[美]约翰·缪尔,周剑、朱华、林东威译.优山美地[M].桂林：漓江出版社,2008：85,90,91.
③Thomas Cole. Essays on American Scenery [C]. John W. McCoubrey ed. American Art:1700-1960; Sources and Documents.Englewood, N.J.:Prentice-Hall,1965:98-109.
④Carol Troyen,.31.
⑤avid Huntington. Introduction[M]//Carr, Gerald Lawrence Carr, Frederic Edwin Church: The Icebergs. Dallas: Dallas Museum of Fine Arts,1980:pp.18-19.转引自Timothy Mitchell, p.4.
①关于杜兰德、比尔斯塔特的绘画和宗教的联系,参见前文第4节的叙述。
②Richard Mclanathan. Art in America: ABrief History[M]. Harcourt Brace Jovanovich Publishers,1991:118-119.
③阿尔多·李奥帕德著,吴美真译.沙郡年记[M]北京：生活.读书.新知三联书店,1999：259287
①H. Barbara Weinberg. Late-Nineteenth-Century American Painting:Cosmopolitan Concerns and Critical Controversies [J].Archives of American Art Journal,1983,23(4):19.
②杨槱.轮船史[M].上海：上海交通大学出版社,2005：12,3742.
③1928年,画商詹泊尔在参观前哥伦比亚艺术展时,惊异地发现美国人居然把印第安人精美的艺术品陈列在自然博物馆内。见[法]雷奈·詹泊尔著,李嘉熙、文佩琳译.画商詹泊尔日记[M].北京：广西师范大学出版社,2003：414.
①[美]加里·纳什等编著,刘德斌主译.美国人民[M].北京：北京大学出版社,2008：550.
②Elizabeth Broun.Childe Hassam's America[J]. American Art,1999,13(3):46.
③Elizabeth Broun,.Childe Hassam's America[J],46.
④[美]查尔斯·A.比尔德,玛丽·R.比尔德著,于干译.美国文明的兴起(下卷)[M].北京：商务出版社,2010：1063.
⑤加里·纳什,美国人民[M],550.
⑥加里·纳什,美国人民[M],573.
①Lois Fink. American Artists In France,1850-1870[J]. The American Art Journal,1973,.5,(2):.42-43.
②苏珊·戴维森主编,周郎、忻华、张少铎译.美国艺术三百年：适应与革新[M].上海：上海辞书出版社,2006：152.
③雷奈·詹泊尔,画商詹泊尔日记[M]：351-355,356-359,361.
②ary Ann Calo. Bernard Berenson and America [J]. Archives of American Art Journal,1996,36(2):8-18.
③ikipedia, Duveen Brothers[EB/OL].http://en.wikipedia.org/wiki/Duveen_Brothers, Wikipedia, Joseph Duveen [EB/OL].http://en.wikipedia.org/wiki/Joseph Duveen,1st Baron Duveen
④he Art Institute of Chicago. The Century of Progress Exhibition of The Fine Arts[J]. Bulletin of the Art Institute of Chicago,1933,27(4):58.
⑦法国画商詹泊尔在《画商詹泊尔日记》中详细记录了他和美国富豪之间的生意往来。詹泊尔发现这些富豪中唯独福特品味恶劣,对艺术没有兴趣,也不购买艺术品。见雷奈·詹泊尔,342-343.
①[美]见图表2-3,凯文菲利普斯著,王吉美译.一本书读懂美国财富史[M].北京：中信出版社,2010：59-60.
②雷奈·詹泊尔,113,195.
③[美]南希·艾因瑞恩胡弗著,金眉译.美国艺术博物馆[M].长沙：湖南美术出版社,2007：3540.
④南希·艾因瑞恩胡弗,美国艺术博物馆[M].3639.
⑤enyon Cox. A liberalized Academy [J]. The Burlington Magazine for Connoisseurs,1907,11(53):341也参见Christine Ⅰ. Oaklander. Clara Davidge's Madison Art Gallery:Sowing the Seed for The Armory Show[J]. Archives of American Art Journal,1996,36(3/4):22.
①Christine L. Oaklander, Clara Davidge's Madison Art Gallery:Sowing the Seed for The Armory Show [J]:.22.
①Harvey M. Watts. Sargent and a Hundred Years of Art in America. Bulletin of the Pennsylvania Musuem,1925,21(96):12.
②李家祺.萨金特：世纪水彩画大师[M].石家庄：河北教育出版社,2001.
③萨金特的《X夫人》原名《高屈奥夫人》。该画因为真实描绘了高屈奥夫人挑逗的形象而受到观众的抵制,艺术家不得不将此画收回修改。此次事件大大挫伤了萨金特在肖像画领域的创新决心
①Richard Shone.Sargent and the Edwardian Age[J]. The Burlington Magazine,1979,11(917):532-536.
Patrick McCaughey.Native and Nomad: Winslow Homer and John Singer Sargent.[J].Daedalus,1987,116(1):133-153.
①Natalie Spassky. Winslow Homer: At the Metropolitan Museum of Art[J].The Metropolitan Museum of Art Bulletin,1982,39(4):37.
②Patrick McCaughey, Native and Nomad:Winslow Homer and John Singer Sargent[J]:136.
①Alfred Frankenstein. Harnett, True and False[J]. The Art Bulletin,1949,31,(1):38.
②Doreen Bolger."Cards and Letters from His Friends":Mr. Hulings'Rack Picture by William Michael Harnett[J]. American Art Journal,1990,22(2):13.
③John Davis. Notes on a Harnett Collectors:The "Mysterious W.J. Hughes"[J]. Archives of American Art Journal,1992,32(2):18.
①李家祺著.伊肯斯[M].石家庄：河北教育出版社，2005:26.
①William Innes Homer. The Exhibition of'The Eight:Its History and Significance[J]. American Art Journal,1969,1(1):60.
②Judith Zilczer.The Eight on Tour,1908-1909[J]. American Art Journal,1984,16,(3):29-30.
①苏珊·戴维森,美国艺术三百年：适应与革新[M],155.
②Judith Zilczer, Alfred Stie glitz and John Guinn:Allies in the American Avant-Garde[J]..35-37.
③arbara Rose, American Art Since1900[M], pp.9
①Paintings on View at Academy of the Fine Arts[N] Philadelphia Public Ledger,1908-03-08(16).转引自Judith Zilczer,.30.
②Barbara Rose, American Art Since1900[M],.30.
①苏珊·戴维森，美国艺术三百年：适应与革新[M]，196-197.
②苏珊·戴维森，美国艺术三百年：适应与革新[M]，197.
①Barbara Rose, American Art Since1900[M],.59.
②rank Anderson Tapp,. The Armory Show:A Review[J]. Art Journal,1963,23,(1):4.
③Barbara Rose, American Art Since1900[M],.59.
①Barbara Rose, American Art Since1900[M],.57-59.
②Theodore Roosevelt. A Layman's Views of an Art Exhibition[M]//John W. McCoubrey ed., American Art:1700-1960; Sources and Documents. Englewood, N.J.:Prentice-Hall,1965:191-192.
①Rita Wellman. Pioneers and Contemporaries.[J]. Parnassus,1934,69(1):12.
②][美]斯坦利·L·恩格尔曼,罗伯特·E·高尔曼主编,剑桥美国经济史第3卷：20世纪[M],43.
③斯坦利·L·恩格尔曼,罗伯特·E·高尔曼,剑桥美国经济史第3卷：20世纪[M].37.
①[美]米尔斯，周晓红译.白领：美国的中产阶级[M].南京：南京大学出版社，2006年:49-50.
②[美]保罗·福塞尔著，梁丽真、乐涛、石涛译.格调：社会等级与生活品味[M].北京：世界图书出版社，2011:21-27.米尔斯，49-50.
③加里·纳什,751
④斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M].408.
①斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M].414.
②斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M].414.
③福塞尔，梁丽真、乐涛、石涛译.格调：社会等级与生活品味[M]，3-35.
①加里·纳什，美国人民[M],710。
②][瑞典]奥维·洛夫伦格，乔纳森·弗雷克曼著，赵丙祥、罗扬等译.美好生活：中产阶级的生活史[M].2011:12.
③]奥维·洛夫伦格，乔纳森·弗雷克曼，美好生活：中产阶级的生活史[M],32.
①Rhodes Johnson. In Defense of Abstract Art[J]. Parnassus,1940,12,(8):9-10.
①Abraham A. Davidson.Cubism and the Early American Modernist[J]. Art Journal,1966-1967,26(2):123.
②Barbara Rose, American Art since1900[M],.66
①在30年代,美国不能识字的成年人有600万；到40年代,美国的人口增加了800万,而不能识字的成年人的数目下降至300万,这充分表明罗斯福新政使大众大大受益了Merle Curtis. The Growth of American Thought[M]. New Brunswick and London: Harper&Row, Inc,1982:721.
②tuart Davis.Abstract Art in the American Scene[J]. Parnassus,1941,13(3):100-103戴维斯在文中驳斥了当时美国流行的对抽象艺术的看法,这恰好表明美国人认为抽象艺术是“为艺术而艺术”,题材非具象的特征。
①Gail Stavitsky. A. E. Gallatin's Gallery and Museum of Living Art (1927-1943)[J]. American Art,1993,7(2):47-63.
②Douglas K. S. Hyland. Agnes Ernst Meyer, Patron of American Modernism[J]. American Art Journal,1980,12(1):64-81.
③Gail Stavitsky, A. E. Gallatin's Gallery and Museum of Living Art (1927-1943)[J].,47.
①[美]克莱门特·格林伯格著，沈语冰译.前卫与庸俗[M]//艺术与文化.桂林：广西师范大学出版社，2009:5.
①Malcolm Bradbury.The Nonhomemade World:European and American Modernism[J].American Quarterly,1987,39(1):27-36.
②Judith Zilczer,. The World's New Art Center: Modern Art Exhibition in New York City[J]. Archives of American Art Journal,1974,14(4),:.2-7.
①Matthew Baigell. The Beginning of'The American Wave'and the Depression[J]. Art Journal,1968,27(4):388.
②Matthew Baigell, The Beginning of'The American Wave'and the Depression[J],.391.
③ita Wellman.Pioneers and Contemporaries[J]. Parnassus,1934,6(1):12.
④udith Zilczer. Beyond Genealogy, American Modernism in Retrospect[J]. American Art,2001,15(1):4.
⑤Stuart Davis. Abstract Art in the American Scene[J]. Parnassus,1941,13(3):103.
⑥College Art Association. The Search for America[J]. Parnassus,1938,10(7):21.
①Judith Zilczer. Alfred Stieglitz and John Guinn: Allies in the American Avant-Garde[J].American Art Journal,1985,17(3):18-33.
②Judith Zilczer,. Alfred Stieglitz and John Guinn: Allies in the American Avant-Garde,p.29.
③lTimothy Robert Rodgers. Alfred Stieglitz, Duncan Phillips and the＄6000Marin[J]. Oxford Art Journal,1992,15(l):4-66.
①Barbara Rose, Ainerican Art Since1900[M],.75.
①April J. Paul. Byron Brown in the Thirties:The Battle for Abstract Art[J]. Archives of American Art Journal,1979,19(4):23.
②pril J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],10-11.
③April J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],10-11.
④April J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],.20.
①April J. Paul, Byron Brown in the Thirties:The Battle for Abstract Art[J],.22.
①]关于美国这一阶段的城市化水平,详见4.1.1城市化水平与新旧价值观的冲突这一节的论证。
①Wanda M. Corn.The Birth of a National Icon: Grant Wood's "American Gothic"[J].Art Institute of Chicago Museum Studies,1983,10:252.
①Elizabeth Broun. Thomas Benton, A Politician in Art, p.59.
②Matthew Baigell. Thomas Hart Benton in the1920's,.429.
①Barbara Rose, American Art since1900[M],107.
②苏珊·戴维森,美国艺术三百年：适应与革新[M],204.
①何政广主编,李家祺文.格兰特·伍德[M].石家庄：河北教育出版社,2005：81.
②Matthew Baigell坚持认为伍德描绘的爱荷华的地方题材都是对乡村生活的讽刺,包括这幅著名的《美国的哥特式》,见Matthew Baigell. Grant Wood Revisited[J]. Art Journal,1966-1967,26(2):116-122.
③anda M. Corn, The Birth of a National Icon:Grant Wood's "American Gothic"[J],255.
④atthew Baigell,. Grant Wood Revisited[J],118
⑤The Art Institute of Chicago, American Gothic [EB/OL].http://www.artic.edu/aic/collections/artwork/6565
①H.W. Janson. The International Aspects of Regionalism[J]. College Art Journal,1943,2(4):114.
②H.W. Janson, The International Aspects of Regionalism[J],111.
③Wanda M. Corn, The Birth of a National Icon: Grant Wood's "American Gothic"[J],255
①加里·纳什，美国人民[M],745-755，763.
②加里·纳什，美国人民[M],745.
①[美]克莱门特·格林伯格.“美国式”绘画[M].克莱门特·格林伯格著，沈语冰译.艺术与文化,桂林：广西师范大学出版社，2009:251,271.
②斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M]，90,表格2.8
①胡小芬，郭飞根.罗斯福时代的美国欧洲犹太知识移民政策（1933-1945）[J].理论月刊2008,7:140-142.
①凯文·菲利普斯,王吉美译.一本书读懂美国财富史[M].,82.
②凯文·菲利普斯,王吉美译.一本书读懂美国财富史[M].,80-81.
③斯坦利·L·恩格尔曼，罗伯特·E·高尔曼，剑桥美国经济史第3卷：20世纪[M]，560页，表10.3
①Barbara Rose, American Art Since1900[M],130.
②Alexander Calder. Alexander Calder: What Abstract Art Means to Me,1951[M]//John W. McCoubrey,209.
①Barbara Rose, American Art Since1900[M],131.
②Susan Noyes Platt. Modernism, Formalism, and the Museum of Modern Art[J]. Art Journal,1988,47(4):284-295.
①Susan Noyes Platt, Modernism, Formalism, and Politics:The "Cubism and Abstract Art" Exhibition of1936and the Museum of Modern Art[J],284-295
②Barbara Rose, American Art Since1900[M],97.
③ackson Pollock. Jackson Pollock: Two Statements on His Painting,1944,1947[M]//John W. McCoubrey ed,212.
④tuart Davis. Two Statements on His Painting,1940,1943[M].//John W. McCoubrey ed,207-208.
⑤Barbara Rose, American Art Since1900[M],97.
①Susan C. Larsen. The American Abstract Artists:A Documentary History1936-1941[J]. Archives of American Art Journal,1974,14(1):2-7.
②April J. Paul, Byron Browne in the Thirties:The battle for Abstract Art,11.
③eirdre Robson. The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance[J]. Archives of American Art Journal,1990,30(1/4):118,注释4.
①Edith G. Halpert. The Function of the Dealer[J]. College Art Journal,1949,9(1):56.
②]此时,美国艺术市场的行情依然是欧洲名家的艺术品价格极高,非一般中产阶级的财力可以承受。而美国现代主义艺术才刚刚进入市场,要价一般比较低,在中产阶级的承受范围内。关于中产阶级的艺术趣味参见第4章
②Deirdre Robson, The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance [J],115.
④见附录1.
①对瑞斯夫妇的介绍,参见何政广主编,曾长生著.现代主义绘画大师,罗斯柯[M].北京：文化艺术出版社,2011：100.
②Deirdre Robson, The Market for Abstract Expressionism: The Time Lag between Critical and Commercial Acceptance [J],117.
③arholstars, abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism55.html
①约翰和多米尼克·德·梅尼尔夫妇是当时著名的艺术赞助人和收藏家,约翰是纽约国际艺术研究的创建人。夫妇二人移居美国后,约翰成为著名的斯伦贝谢公司拉丁分部及中东和远东分部的总裁。
②表格的数据源于Warholstars, Abstractexpressionsm [EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism58.html对罗斯柯历年作品售出情况的记录。
①何政广主编，曾长生著.现代主义绘画大师，罗斯柯[M],121.
①Robert C. Hobbs. Early Abstract Expressionism and Surrealism[J]. Art Journal,1985,45,(4):299.
②Robert C. Hobbs, Early Abstract Expressionism and Surrealism[J],299.
①何政广主编,曾长生等著.恩斯特[M].石家庄：河北教育出版社,2005：62-83.
②Robert C. Hobbs, Early Abstract Expressionism and Surrealism[J],300.
③][美]罗兰·斯特龙伯格著,刘北成、赵国新译.西方现代思想史[M].北京：中央编译出版社,2005：420.
①[瑞士]荣格.四个原型[M].伦敦：1972：3-4.转引自胡经之主编,荣格分析心理学理论及其文艺思想[M]//西方文艺理论名著教程.北京：北京大学出版社,1989：143-144.
②荣格.四个原型[M],145.
③Alicja Kepinska and Patric Lee. Chaos as a Value in the Mythological Background of Action Painting[J]. Artibus et Historiae,1986,7(14):107.
④obert C. Hobbs, Early Abstract Expressionism and Surrealism[J],299-302.
①Robert C. Hobbs'Early Abstract Expressionism and Surrealism[J],300.
②][美]戴维·李明著,杨立新、冷杉译.欧洲神话的世界[M].北京：生活·读书·新知三联书店,2010：47.
①Richard P. Taylor, Adam P. Micolich, David Jonas."The Construction of Jackson Pollock's Fractal Drip Paintings", Leonardo,2002,35(2):203-205.
①Richard P. Taylor, Adam P. Micolich, David Jonas,"The Construction of Jackson Pollock's Fractal Drip Paintings",206-207.
①Warholstars, abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism48.html
②Warholstars, abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism49.html
①克莱门特·格林伯格,“美国式”绘画,251,271.
②Robert B.Hawkins. Contemporary Art and the Orient[J]. College Art Journal,1957,16(2):118-119.
①Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism55.html
②Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism56.html
③Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism59.html
④Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism50.html
⑤Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism56.html
①Warholstars, Abstractexpressionism[EB/OL] http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism60.html
①[法]弗雷德里克·马特尔著，周莽译.论美国的文化，在本土与全球之间双向运行的文化体制[M].北京：商务印书馆，2013:85.
①王晓德.“软实力”与美国大众文化的全球扩张[J].历史教学,2007,537(10):5.
②王晓德.二十世纪以来法国反美主义的文化释读[J].历史研究，2008(3):112-115.
①[法]弗雷德里克·马特尔著，周莽译.论美国的文化，在本土与全球之间双向运行的文化体制[M].北京：商务印书馆，2013:83-92.
②弗雷德里克·马特尔，论美国的文化，在本土与全球之间双向运行的文化体制[M]，90.
③弗雷德里克·马特尔，论美国的文化，在本土与全球之间双向运行的文化体制[M]，100-144.其中，卡特总统可能是个例外。
①苏珊·戴维森，美国艺术三百年：适应与革新[M],23.
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*注：抽象表现主义流派画家的售价主要依赖于warholstars.org这一网站,该网站按照年代顺序,对抽象表现主义画家的历年活动有详细叙述,恕不一一列出。