麦绥莱勒（Frans Masereel,1889-1972）
版画《城市》：点击浏览
1889 出生于比利时勃兰根堡
1907-1910 在比利时根特艺术学院学习（根特市：东弗兰德省省会。位于斯凯尔特河和莱斯河汇合处）
1911 迁至巴黎
1913 首次在刊物发表插图
1915 在瑞士日内瓦避难.
1917 为和平主义刊物La Feuille 和 Les Tablettes工作
1918 出版首部“版画中的小说”，获得国际声誉
1922 迁回巴黎
1933连环木刻《一个人的受难》（鲁迅序）、《我的忏悔》（郁达夫序）、《光明的追求》（叶灵凤序）、《没有字的故事》（赵家壁序）首次由良友公司在中国出版
1935-1936 数次访问莫斯科
1940 搬到法国南部的 Avignon
1950 威尼斯25次双年展版画大奖
1951 在比利时的一系列回顾展
1958来华举办个人画展 ，回国后创作了《 回忆中国 》木刻组画
1972 在法国逝世
1986作品在北京、西安、太原巡回展出。
法郎士·麦绥莱勒（Frans Masereel，1889～1972），比利时版画家，和德国的珂勒惠支和梅斐尔德一样，是鲁迅推展新兴木刻运动时引进的最为推崇的版画家之一。
1932年10月，鲁迅在《文学日报》上发表《连环图画辩护》，提到：“比国有一个麦绥莱勒，是欧洲大战时候，像罗曼罗兰一样，因为非战而逃出过外国的。他的作品最多，都是一本书，只有书名，连小题目也没有。现在德国印出了普及版，每本三马克半，容易到手了。”
第二年上海良友图书公司出版《麦绥莱勒木刻连环画故事》四种，《一个人的受难》由鲁迅作序，《我的忏悔》由郁达夫作序，《光明的追求》由叶灵凤作序，《没有字的故事》由良友图书公司编辑赵家璧作序。
鲁迅的序言节选：
“麦绥莱勒是反对欧战的一人；据他自己说。以一八八九年七月三十一日生于弗兰兑伦的勃兰勘培克（现译勃兰根堡），幼小时候是很幸福的，因为玩得多，学得少。求学时代是在干德，在那里的艺术学院里学小半年；后来就漫游德、英、瑞士、法国去了，而最爱的是巴黎，称之为‘人生的学校’。在瑞士时，常投画稿于日报上，摘发社会的隐病，罗曼罗兰比之于杜米埃和戈雅。但所作最多的是木刻的书籍上的插图，和全用图画来表现的故事。他是酷爱巴黎的，所以作品往往浪漫、奇诡、出于人情，因以收得惊异和滑稽的效果。独有《一个人的受难》乃是写实之作，和别的图画故事都不同。”
除了作序鲁迅先生还为《一个人的受难》二十五幅木刻图一一作了解说词。
在第二次世界大战中，麦绥莱勒居住在自由法国的控制区内；以他的艺术为反法西斯斗争服务。作品有《死人舞》（1941）、《命运》（1943）等，1945年又作《莫忘记》组画，强烈控诉了法西斯的罪行。战后重返巴黎，1948年创作了大型木刻组画《岁月》和《青春》等，表达了他对世界和平和人类幸福的愿望。1958年10月他应中国人民对外友好协会的邀请到我国进行友好访问并举办个人画展。回国后创作《回忆中国》组画，并在欧洲多个国家巡回展出。
麦绥莱勒 谈艺术
1962, Munster: "For me, art is in the first place human communication addressed to all men, of which the form and the content, as well as the understanding and the heart, must be at the highest possible level. . . . If these postulates are not respected, there can be no great art."
1969, Blankenberge: "It is not for me to speak of my work, others will do so. But I should like to say here. . . what my conception is of art in our society. It is this: Art seems to me to be the most universal religion of our time, and the artist its principal messenger. The artist is a witness of his time, but he can also be an accuser, a critic, or he can celebrate in his works the uneasy greatness of his day.
"I cannot conceive of an artist isolating himself in an ivory tower, this seems anti-human, and, in any case, out of keeping with our way of life. We all need one another in order to survive. This does not mean that the artist is obliged to march in step with everybody else. On the contrary, though he is a man like other men, destiny has made of him a being with the mysterious gift which enables him to create works in which the vessel, forms, and colors, must be worthy of that which it bears, sincerity and thought.
"The artist is in the very front rank of those who lead humanity toward a better world, more beautiful, more free, more just, more brotherly."
To Frans Buyens (in a film interview): "An ideal communism would be, let us say, an anarchic sort of communism. Every man ought to be sufficiently mature to be willing to live in common with his fellows and to respect their freedom. . . .Man must be king of earth! Everyone should be a king of earth!"
Again: "I don't see what is political about it [his work]. Politics is a matter of factions--in Italian, combinazione, which is a lot prettier. But there are no 'factions' in my work. There is, I believe, great sincerity. It is a direct enough matter, consequently, which is not at all political. On the contrary, it is humanist. . . .
"I don't feel my work need carry a direct message. But that is not my point of departure. I don't consider myself a prophet, or well-informed enough to allow myself to offer messages. However, many of my works have been interpreted as messages. This moves me and gives me pleasure, because if I could offer a valid message, I think I should do so with pleasure."
"Abstract art is a progressive art. But I don't see where it leads. I see no future in it, because I think that showing nothing, saying nothing, pleasing only the eyes, produces at the end of the day an art which is very agreeable to a certain section of the rich middle class. It is an art that you can put anywhere: in the bathroom, in the kitchen, above your bed; it shocks nobody. There are simply more or less successful combinations of colors in a particular pattern, which are sometimes very interesting. But for me, art is more serious than that."
--Roger Avermaete, Frans Masereel, 1976, Fonds Mercator, pp 84-7.
论麦绥莱勒
"Masereel pitilessly castigated man's ugliness, while praising his beauty. With rare force he carved the image of the misery man calls down upon himself, but which he has the power to prevent if he would. With the intensity that characterizes him, he extols humanity, and a society--utopian perhaps--in which all men are brothers."
----Maurice Naessens, Preface to Avermaete.
版画《城市》：点击浏览
1889 出生于比利时勃兰根堡
1907-1910 在比利时根特艺术学院学习（根特市：东弗兰德省省会。位于斯凯尔特河和莱斯河汇合处）
1911 迁至巴黎
1913 首次在刊物发表插图
1915 在瑞士日内瓦避难.
1917 为和平主义刊物La Feuille 和 Les Tablettes工作
1918 出版首部“版画中的小说”，获得国际声誉
1922 迁回巴黎
1933连环木刻《一个人的受难》（鲁迅序）、《我的忏悔》（郁达夫序）、《光明的追求》（叶灵凤序）、《没有字的故事》（赵家壁序）首次由良友公司在中国出版
1935-1936 数次访问莫斯科
1940 搬到法国南部的 Avignon
1950 威尼斯25次双年展版画大奖
1951 在比利时的一系列回顾展
1958来华举办个人画展 ，回国后创作了《 回忆中国 》木刻组画
1972 在法国逝世
1986作品在北京、西安、太原巡回展出。
法郎士·麦绥莱勒（Frans Masereel，1889～1972），比利时版画家，和德国的珂勒惠支和梅斐尔德一样，是鲁迅推展新兴木刻运动时引进的最为推崇的版画家之一。
1932年10月，鲁迅在《文学日报》上发表《连环图画辩护》，提到：“比国有一个麦绥莱勒，是欧洲大战时候，像罗曼罗兰一样，因为非战而逃出过外国的。他的作品最多，都是一本书，只有书名，连小题目也没有。现在德国印出了普及版，每本三马克半，容易到手了。”
第二年上海良友图书公司出版《麦绥莱勒木刻连环画故事》四种，《一个人的受难》由鲁迅作序，《我的忏悔》由郁达夫作序，《光明的追求》由叶灵凤作序，《没有字的故事》由良友图书公司编辑赵家璧作序。
鲁迅的序言节选：
“麦绥莱勒是反对欧战的一人；据他自己说。以一八八九年七月三十一日生于弗兰兑伦的勃兰勘培克（现译勃兰根堡），幼小时候是很幸福的，因为玩得多，学得少。求学时代是在干德，在那里的艺术学院里学小半年；后来就漫游德、英、瑞士、法国去了，而最爱的是巴黎，称之为‘人生的学校’。在瑞士时，常投画稿于日报上，摘发社会的隐病，罗曼罗兰比之于杜米埃和戈雅。但所作最多的是木刻的书籍上的插图，和全用图画来表现的故事。他是酷爱巴黎的，所以作品往往浪漫、奇诡、出于人情，因以收得惊异和滑稽的效果。独有《一个人的受难》乃是写实之作，和别的图画故事都不同。”
除了作序鲁迅先生还为《一个人的受难》二十五幅木刻图一一作了解说词。
在第二次世界大战中，麦绥莱勒居住在自由法国的控制区内；以他的艺术为反法西斯斗争服务。作品有《死人舞》（1941）、《命运》（1943）等，1945年又作《莫忘记》组画，强烈控诉了法西斯的罪行。战后重返巴黎，1948年创作了大型木刻组画《岁月》和《青春》等，表达了他对世界和平和人类幸福的愿望。1958年10月他应中国人民对外友好协会的邀请到我国进行友好访问并举办个人画展。回国后创作《回忆中国》组画，并在欧洲多个国家巡回展出。
麦绥莱勒 谈艺术
1962, Munster: "For me, art is in the first place human communication addressed to all men, of which the form and the content, as well as the understanding and the heart, must be at the highest possible level. . . . If these postulates are not respected, there can be no great art."
1969, Blankenberge: "It is not for me to speak of my work, others will do so. But I should like to say here. . . what my conception is of art in our society. It is this: Art seems to me to be the most universal religion of our time, and the artist its principal messenger. The artist is a witness of his time, but he can also be an accuser, a critic, or he can celebrate in his works the uneasy greatness of his day.
"I cannot conceive of an artist isolating himself in an ivory tower, this seems anti-human, and, in any case, out of keeping with our way of life. We all need one another in order to survive. This does not mean that the artist is obliged to march in step with everybody else. On the contrary, though he is a man like other men, destiny has made of him a being with the mysterious gift which enables him to create works in which the vessel, forms, and colors, must be worthy of that which it bears, sincerity and thought.
"The artist is in the very front rank of those who lead humanity toward a better world, more beautiful, more free, more just, more brotherly."
To Frans Buyens (in a film interview): "An ideal communism would be, let us say, an anarchic sort of communism. Every man ought to be sufficiently mature to be willing to live in common with his fellows and to respect their freedom. . . .Man must be king of earth! Everyone should be a king of earth!"
Again: "I don't see what is political about it [his work]. Politics is a matter of factions--in Italian, combinazione, which is a lot prettier. But there are no 'factions' in my work. There is, I believe, great sincerity. It is a direct enough matter, consequently, which is not at all political. On the contrary, it is humanist. . . .
"I don't feel my work need carry a direct message. But that is not my point of departure. I don't consider myself a prophet, or well-informed enough to allow myself to offer messages. However, many of my works have been interpreted as messages. This moves me and gives me pleasure, because if I could offer a valid message, I think I should do so with pleasure."
"Abstract art is a progressive art. But I don't see where it leads. I see no future in it, because I think that showing nothing, saying nothing, pleasing only the eyes, produces at the end of the day an art which is very agreeable to a certain section of the rich middle class. It is an art that you can put anywhere: in the bathroom, in the kitchen, above your bed; it shocks nobody. There are simply more or less successful combinations of colors in a particular pattern, which are sometimes very interesting. But for me, art is more serious than that."
--Roger Avermaete, Frans Masereel, 1976, Fonds Mercator, pp 84-7.
论麦绥莱勒
"Masereel pitilessly castigated man's ugliness, while praising his beauty. With rare force he carved the image of the misery man calls down upon himself, but which he has the power to prevent if he would. With the intensity that characterizes him, he extols humanity, and a society--utopian perhaps--in which all men are brothers."
----Maurice Naessens, Preface to Avermaete.
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