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在立体派雕塑家创作的同时
在立体派雕塑家创作的同时，意大利雕塑家们也创造了一种不同的风格--"未来派"，恩墙托·波菊尼宣称:"绝对地和彻底地放弃有限的线条和封闭的雕塑。""让我们把人体打开，把环境关闭到人体里面去。"
While sculptors of Cubism created, Italian sculptors also created a different style - "futurism", which was declared by enberto bothani: "absolutely and completely give up Limited lines and closed sculptures. "Let's open the human body and close the environment to the human body. "
在这两大主流之外较著名的流派还有构成派。构成派雕塑家瑙姆、加博、安·培布索奈(1886~1962)在创作中，用一种新的方式把物体所占有的空间进行了新的塑造，他们提出用空间、时间来取代量感，也通过构成雕塑寻求一种建筑新型的表现形式，对建筑作出了重要的贡献并采用和探讨了新型材料，从而把雕塑要素与建筑要素完美地结合在一起.贾克梅蒂(Giacometti，1901-1966)和塞尚(Cézanne，1839-1906) 虽然没有号称自己是激进的前卫艺术家，却都不满足于凭借前人的视觉经验观察物象。他们以非凡的勇气超越了传统绘画既定表现方式所制定的条条框框，形成了各自独特的画风。他们面对眼前的客观景象，企图抛弃固有的思想观念和观察习惯，重新审视，默默地寻求着新的属于艺术家自己的真实体验，这不免使他们同样地深深陷入视觉困惑的泥潭之中，因而在审美方式上存在许多相似之处。但是，他们毕竟生活在两个完全不同的时空里。由于不同的性格，不同的生活环境和人生体验，以及不同的视觉思维方式，也导致了画家审美特征的诸多差异。
In addition to these two main streams, there are more famous schools of composition. In their creation, the sculptors naom, Gabriel and ANN peibusoney (1886-1962) of the school of composition used a new way to shape the space occupied by the object. They proposed to replace the sense of quantity with space and time. They also sought a new form of architectural expression through the composition of sculpture. They made an important contribution to the architecture and adopted and discussed new materials so as to make sculpture important Elements and architectural elements are perfectly combined. Giacometti (1901-1966) and C é zanne (1839-1906) are not satisfied with observing objects with their predecessors' visual experience, although they do not claim to be radical avant-garde artists. With extraordinary courage, they have transcended the rules and regulations set by the traditional way of expression of painting and formed their own unique style of painting. In the face of the present objective scene, they try to abandon the inherent ideas and observation habits, re-examine, and quietly seek new real experience belonging to the artists themselves, which inevitably makes them deeply into the mire of visual confusion, so there are many similarities in aesthetic methods. However, they live in two completely different time and space. Because of different characters, different living environment, life experience, and different visual way of thinking, there are also many differences in the aesthetic characteristics of painters.
While sculptors of Cubism created, Italian sculptors also created a different style - "futurism", which was declared by enberto bothani: "absolutely and completely give up Limited lines and closed sculptures. "Let's open the human body and close the environment to the human body. "
在这两大主流之外较著名的流派还有构成派。构成派雕塑家瑙姆、加博、安·培布索奈(1886~1962)在创作中，用一种新的方式把物体所占有的空间进行了新的塑造，他们提出用空间、时间来取代量感，也通过构成雕塑寻求一种建筑新型的表现形式，对建筑作出了重要的贡献并采用和探讨了新型材料，从而把雕塑要素与建筑要素完美地结合在一起.贾克梅蒂(Giacometti，1901-1966)和塞尚(Cézanne，1839-1906) 虽然没有号称自己是激进的前卫艺术家，却都不满足于凭借前人的视觉经验观察物象。他们以非凡的勇气超越了传统绘画既定表现方式所制定的条条框框，形成了各自独特的画风。他们面对眼前的客观景象，企图抛弃固有的思想观念和观察习惯，重新审视，默默地寻求着新的属于艺术家自己的真实体验，这不免使他们同样地深深陷入视觉困惑的泥潭之中，因而在审美方式上存在许多相似之处。但是，他们毕竟生活在两个完全不同的时空里。由于不同的性格，不同的生活环境和人生体验，以及不同的视觉思维方式，也导致了画家审美特征的诸多差异。
In addition to these two main streams, there are more famous schools of composition. In their creation, the sculptors naom, Gabriel and ANN peibusoney (1886-1962) of the school of composition used a new way to shape the space occupied by the object. They proposed to replace the sense of quantity with space and time. They also sought a new form of architectural expression through the composition of sculpture. They made an important contribution to the architecture and adopted and discussed new materials so as to make sculpture important Elements and architectural elements are perfectly combined. Giacometti (1901-1966) and C é zanne (1839-1906) are not satisfied with observing objects with their predecessors' visual experience, although they do not claim to be radical avant-garde artists. With extraordinary courage, they have transcended the rules and regulations set by the traditional way of expression of painting and formed their own unique style of painting. In the face of the present objective scene, they try to abandon the inherent ideas and observation habits, re-examine, and quietly seek new real experience belonging to the artists themselves, which inevitably makes them deeply into the mire of visual confusion, so there are many similarities in aesthetic methods. However, they live in two completely different time and space. Because of different characters, different living environment, life experience, and different visual way of thinking, there are also many differences in the aesthetic characteristics of painters.
