本文旨在寻找艺术，安东尼高迪的–当今时代最有创意的建筑师的政治和思想遗产。我们特别建议看他的创作成果和他的思想信念，绘制一些西班牙最著名的文化地标的建设与分析的历史背景下，这些地标创建。我们相信，这是学习高迪的最好方法。通过试图创造一个综合之间的现代主义运动和新艺术风格，他是著名的政治动荡的时期，他住在我们可以更好地理解高迪是-本质上-一个产品，他的时间，国家和独特的政治文化。我们可以理解，作为一个结果，建筑的相互作用，意识形态和政治阴谋使他的工作中最具挑战性和现代欧洲艺术史上独特的（lahuerta，2003:2-10）。此外，在试图合成我们也能理解的程度，高迪的工作仍然是这些固定的思想以外的参数和如何在许多方面他的遗产可以在完全“独立实验方面的理解”（伯格多尔，2000:189），没有平等的世界其他地方。当然，我们必须注意建筑与政治之间的本质区别，即接受艺术是一种完全主观的现象，它的审美美比任何一个人或任何政治意识形态都要长久。
新西兰奥克兰论文代写:寻找艺术
The following dissertation seeks to look at the artistic, political and ideological legacy of Antoni Gaudi – one of the most innovative architects of the modern era. We propose in particular to look at both his creative output and his ideological convictions, charting the construction of some of Spain’s most famous cultural landmarks in tandem with an analysis of the historical context in which these landmarks were created. This, we believe, represents the best means of studying Gaudi. By attempting to create a synthesis between the Modernist Movement and the Art nouveau style for which he was famous and the politically volatile period in which he lived we can better understand how Gaudi was – in essence – a product of his time, country and distinctive political culture. We can understand, as a consequence, the interplay of architecture, ideology and politics that conspired to make his work among the most challenging and unique in modern European art history (Lahuerta, 2003:2-10). Moreover, in attempting this synthesis we can also understand the extent to which Gaudi’s work remains outside of these fixed ideological parameters and how in many ways his legacy can be understood in terms of wholly “independent experiments” (Bergdoll, 2000:189) that have no equal anywhere else in the world. Ultimately of course, we have to note the essential differences between architecture and politics, which involves accepting that art is by definition an entirely subjective phenomenon whose aesthetic beauty lives longer in the memory than any one man or any political ideology.
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