【Google Arts & Culture】2018-09-08週六

weixin_33890499發表於2018-09-08

2019-09-08 Saturday

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作品描繪的場景正如標題“Race to the market, Tahiti”,近景是為早一步到達市場而競速的小販,背景則是法屬波利尼西亞向風群島中的最大島嶼塔希提島(Tahiti)的熱帶風光。Tahiti還有另一個出名的音譯名叫大溪地。這是一座位於大洋洲南太平洋地區的熱帶島嶼,四季如春,物產豐厚,被稱為“最接近天堂的地方”。當然,依我看來,世界大概是平的,畢竟有那麼多接近天堂的地方,一笑。不過塔希提島的美,大概是毋庸置疑的,有許多的藝術家前去創作,比如名畫《兩位塔希提婦女》的作者綜合主義的鼻祖,高更。而以前提過的《月亮和六便士》的故事,就是在這個島嶼上發生的。
在ins上搜了下,風景如畫:
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作品是尼古拉斯·舍瓦利耶於1880創作的,收藏於Art Gallery of New South Wales。

2018-09-07 Friday

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Two Thatched Cottages (法語Les deux chaumières),意味兩個茅草屋。作者Armand Séguin是一位Post-Impressionism的法國畫家,師從Pont-Aven School(阿旺橋學派)的Paul Gauguin。
保羅·高更與梵高、塞尚並稱為後印象派三大巨匠,1886年、1888年高更都曾去阿旺橋創作教學,在當時阿旺橋是遠離城市、未遭遊客侵蝕,生活成本低的picturesque place。之後四十年,這個位於法國菲尼斯泰爾省南部,充滿濃烈的布列塔尼地域風情,距巴黎有5個小時車程的小地方,變成了現代藝術的搖籃,見證了綜合主義的誕生。而時至今日,高更的追隨者們來到了Pont-Aven,為這兒帶來了更多了新鮮血液和藝術靈感。這一點和中國成都的藍頂藝術中心很像,比起北京798、上海M50,這個位於雙流鎮農村的地方,也是最開始由幾個藝術家來此創作,慢慢有了影響力,吸引了更多的藝術創作者聚集。
英國作家毛姆的《moon and sixpence》就是以Gauguin為藍本創作的。
成都博物館在2017年11月的時候,有一場特展,叫『現代之路:傳統走向現代』,展示十九世紀的初期,到二十世紀末的作品。在這一時期,第一次,生存與毀滅成為了全人類的問題。莫奈的《睡蓮》象徵了他開始展示主觀的東西,開始平視自然,開始表現“我”看到的自然,而不是現實中的自然。而後的後印象主義的現代藝術,則是沒有標準答案的,你看到什麼就是什麼。 所見即所得,所思即所畫。
言歸正傳,這幅 Pont-Aven School的作品,體現了後印象派中綜合主義的特點,誇張的色彩,將觀察和風景本身混合在一起,把自己的主觀賦予到作品中,流動的山丘和雲彩般變化的樹林,這是非常不同於堅固幾何圖形的創作手法。

另:作品收藏於Indianapolis Museum of Art at Newfields ,本館位於美國Indiana的州首府Indianapolis,是一家encyclopedic art museum。
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2018-09-06 Tuesday

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Luxor Port是Abdullah Al Qassar於1964創作的,收藏於Barjeel Art Foundation。It's Painting type
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2018-09-05 Wednesday

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Adrien Mayers於1832創作的Mr. Pendleton's House near Deer Creek 。
是一幅watercolors。收藏於Amon Carter Museum of American Art。
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2018-09-04 Tuesday

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這副畫是珍妮·奧古斯塔·布朗斯科姆1887年的作品,Love’s Young Dream,收藏於National Museum of Women in the Arts。是一幅Oil on canvas。
Jennie Augusta Brownscombe is best known for sentimental genre pictures and scenes from colonial history. “Love’s Young Dream,” one of her most popular paintings, portrays an idealized vision of traditional rural life and family.

Brownscombe’s ability to create a wealth of believable details adds to the strength of her narrative. A young woman stands on the bottom step of her modest home, gazing longingly toward the road. A man on horseback, presumably her romantic interest, appears in the distance.

Meanwhile, the gray-haired woman—perhaps her mother—glances up from her knitting. Her expression seems to register fondness and concern. The male figure, by contrast, is fully engaged in his reading rather than the narrative unfolding before him.

Brownscombe contrasts the right-hand side of the picture, where all three figures have been placed, with the left, where an unencumbered view of the landscape stretches back to mist-shrouded hills.

2018-08-**

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作品Market in Piazza del Municipio,Giovanni Michele Graneri於1740創作,該作品收藏於都靈的 Palazzo Madama(即Civic Museum of Ancient Art)。材質是Oil on canvas

This scene shows the punishment of women accused of selling bad eggs: the rotten goods they have sold illegally are being thrown at them by their fellow citizens.
The episode takes place in a crowded city square with guards, who have been called in to maintain law and order, looking on. Bystanders also include other vendors and many middle-class and aristocratic people observing from the balconies as though watching a performance at the theatre.
This painting has a greater degree of sentimentality and greater care in portraying the human figures than we find in other works by Granieri. As was his custom, Granieri inserts his own initials, here in the hexagonal sign of the shop on the left, while in the plaque on the tower he indicates the year he made the painting.

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