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內(nèi)容簡(jiǎn)介

　　為什么荷蘭人梵.高、俄國(guó)人夏加爾、西班牙人畢加索和米羅、意大利人莫第里安尼以及我國(guó)的趙無(wú)極等等，都是在法國(guó)修煉成仙，成為光照人類的繪畫大師？是由于法國(guó)的浪漫嗎？自由嗎？為此幾次跑到法國(guó)進(jìn)行研究的馮驥才說：不是！他從法國(guó)的人文層面上找到了這個(gè)最根本又極美妙的答案，那便是――法蘭西的精神至上！憑著他大量的發(fā)現(xiàn)性素材，全新的角度，惟畫家才有的藝術(shù)感覺以及散文詩(shī)般的精美的文字，把他的答案如畫一般呈現(xiàn)給我們。這是一本獨(dú)特的書。既是作家寫的畫家，又是畫家寫的畫家。這是一本典型的馮驥才式的作品。

作者簡(jiǎn)介

暫缺《巴黎，藝術(shù)至上》作者簡(jiǎn)介

圖書目錄

逆光里的午餐·······························1
美是精神的浪漫·······························4-76
街頭的吻·······························6
巴黎女郎·······························11
地鐵中的樂手·······························18
巴黎的天空·······························24
翁弗勒爾·······························29
愛犬的天堂·······························44
拉丁區(qū)，我們那條小街·······························51
歷史是一種靈魂·······························77-130
精神的殿堂·······························79
城市的文物與文化·······························84
巴黎的歷史美·······························92
家庭的遺產(chǎn)·······························98
雙重的博物館·······························104
居住在拉雪茲的大師們·······························111
都德的靈氣·······························120
活著的空間·······························126
塞納河邊的中國(guó)古董·······························133
巴黎的藝術(shù)家們·······························140-236
燃燒的石頭·······························143
孤獨(dú)者的自由·······························157
最后的梵.高·······························172
秋天巴比松·······························192
神奇的左手·······························202
站在懸崖上的藝術(shù)家們·······························211
法國(guó)人肚子里的中國(guó)畫家·······························220
天上的攝影師·······························233