本文是以柏格森（Henri Bergson）生命哲學的角度，去詮釋同一時期現代繪畫的研究計劃之一部分。該研究初始於筆者有關「現代繪畫之父」塞尚與柏格森之間的實質對比研究；隨後，亦已分別地探討了後繼的藝術運動：野獸主義、立體主義、韻律主義、未來主義與奧菲主義的之代表性藝術家於理論與創作裡的柏格森哲學質素。
本文再續其論旨，以形上學裡「表象與實在」暨知識論裡「直覺與理智」之分析進路，探討重要藝術家：杜象（Marcel Duchamp）的「柏格森風格」。希望由此前後密切相關的研究，得以進一步論述現代繪畫與柏格森哲學，在同一文化氛圍與意義體系中互動與發展的情形；以及在此一詮譯架構下，現代繪畫的多重藝術風貌；以有別於目前一般較著重形式或作品分析的論述。

Henri Bergson‘s philosophy shares great importance in the
late 19th and early 20th centuries in French. This is the point of departure I will take in this article, which constitutes the third part of my modern painting research. The first part of the research started from the issue regarding Cézanne and Bergson. While the second part regarding representatives of Cézanne‘s successors: Fauvism, Cubism，Rhythmism， Futurism and Orphism were also probed.
On these grounds and under the same direction, this article moves forward for further research. Namely, I will take the similar approach to interpret Marcel Duchamp‘s art. With these I will show the multiple styles of modern art with Bergsonian viewpoints.
Consequently, a principal characteristic of early 20th century European
painting could better be interpreted as the multiple formal expressions and innovative developments of ―Bergsonian style, or the crystallization of Bergsonian spiritual-positivism.