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300万美元之邮票

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Minimalism

Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in post-World War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, Carl Andre and Richard Serra. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction against Abstract Expressionism and a bridge to Postmodern art practices.

The term has expanded to encompass a movement in music which features repetition and iteration, as in the compositions of Steve Reich, Philip Glass, John Adams, and Terry Riley. (See also Post-Minimalism).

The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman.

Minimalism Design
The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work. De Stijl expanded the ideas that could be expressed by using basic elements such as lines and planes organized in very particular manners.

Architect Ludwig Mies van der Rohe adopted the motto "Less is more" to describe his aesthetic tactics of flattening and emphasizing a building's frame, eliminating interior walls and adopting an open plan, and reducing the structure to a strong, transparent, elegant skin. Designer Buckminster Fuller adopted a similar saying, "Doing more with less", but his concerns were oriented towards technology and engineering rather than aesthetics. A similar sentiment was industrial designer Dieter Rams' motto, "Less but better", adapted from van der Rohe.

Another modern master who exemplifies reductivist ideas is Luis Barragan. In minimalism, the architectural designers pay special attention to the connection between perfect planes, elegant lighting, and careful consideration of the void spaces left by the removal of three-dimensional shapes from an architectural design.

Contemporary architects working in this tradition include John Pawson, Eduardo Souto de Moura, Alvaro Siza, Tadao Ando, Alberto Campo Baeza,Yoshio Taniguchi, Peter Zumthor, Vincent Van Duysen, Claudio Silvestrin, Michael Gabellini, and Richard Gluckman.

Romanticism

If the Enlightenment was a movement which started among a tiny elite and slowly spread to make its influence felt throughout society, Romanticism was more widespread both in its origins and influence. No other intellectual/artistic movement has had comparable variety, reach, and staying power since the end of the Middle Ages.

Beginning in Germany and England in the 1770s, by the 1820s it had swept through Europe, conquering at last even its most stubborn foe, the French. It traveled quickly to the Western Hemisphere, and in its musical form has triumphed around the globe, so that from London to Boston to Mexico City to Tokyo to Vladivostok to Oslo, the most popular orchestral music in the world is that of the romantic era. After almost a century of being attacked by the academic and professional world of Western formal concert music, the style has reasserted itself as neoromanticism in the concert halls. When John Williams created the sound of the future in Star Wars, it was the sound of 19th-century Romanticism--still the most popular style for epic film soundtracks.

Beginning in the last decades of the 18th century, it transformed poetry, the novel, drama, painting, sculpture, all forms of concert music (especially opera), and ballet. It was deeply connected with the politics of the time, echoing people's fears, hopes, and aspirations. It was the voice of revolution at the beginning of the 19th century and the voice of the Establishment at the end of it.

This last shift was the result of the triumph of the class which invented, fostered, and adopted as its own the romantic movement: the bourgeoisie. To understand why this should have been so, we need to look more closely at the nature of the style and its origins.

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