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自由作家、专栏作者、翻译作者。著有长篇《六翼天使》、中篇《同居笔记》、《事后》、《自恋时段》、《一只黑猫的自闭症》、《夜在窗外》、《避孕》以及翻译《迷失男女》、《红颜》、《美与暴烈——三岛由纪夫传记》、斯蒂芬.金黑暗史诗《黑暗塔VII》、《杜马岛》…… 个人主页 www.yushichina.com

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看查布克夫人,找经典画作 {续}  

2007-12-24 21:56:00|  分类: 默认分类 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |
 P22页开始,罗列了很多大画家。无机客在导读中就提到,上海今年夏天的美国当代艺术展上就有个别惊人呈现。
 
Thomas Cole (born England,1801-1848)
这位风景画巨匠的作品很多,是我本人所不喜欢的那种风格,但无论如何是我本人无法学到的一门精湛技艺。无论是书中插页中模糊的黑白《河套》,还是节日气氛的美国新建筑,都充满了一种巨细无靡的虚假感——恰是画得太好而导致的某种失真感。当然,一己之言,决无意冒犯大家。
看查布克夫人,找经典画作 {续} - 于是 - 于是
The Course of theEmpire - Consummation of the Empire (Oil,1836)
This is the third inThomas Cole's "Course of the Empire" series.  (Besure to start at the first painting so that you can see how the sunrises and moves through the sky.  The mountain inthe background remains throughout, but in the foreground, there areconsiderable changes.)
Here are the links to each of thepaintings: 
First Painting - Second - Third - Fourth - Last
看查布克夫人,找经典画作 {续} - 于是 - 于是
书中插画即这幅《河套》

View from Mount Holyoke Northampton Massachusettsafter a Thunderstorm(1836)Oil on canvas; (130.8 x 193cm)

Description:
Long known as "The Oxbow," this work is a masterpiece of Americanlandscape painting, laden with possible interpretations. In themidst of painting "The Course of Empire" (New-York HistoricalSociety), Cole mentioned in a letter dated March 2, 1836, to hispatron Luman Reed that he was executing a large version of thissubject expressly for exhibition and sale. The picture was shown atthe National Academy of Design in 1836 as "View from Mount Holyoke,Northampton, Massachusetts, after a Thunderstorm." Cole`s interestin the subject probably dates from his 1829?2 trip to Europe,during which he made an exact tracing of the view published inBasil Hall`s "Forty Etchings Made with the Camera Lucida in NorthAmerica in 1827 and 1828." Hall criticized Americans`inattentiveness to their scenery, and Cole responded with alandscape that lauds the uniqueness of America by encompassing "aunion of the picturesque, the sublime, and the magnificent."Although often ambiguous about the subjugation of the land, herethe artist juxtaposes untamed wilderness and pastoral settlement toemphasize the possibilities of the national landscape, pointing tothe future prospect of the American nation. Cole`s unequivocalconstruction and composition of the scene, charged with moralsignificance, is reinforced by his depiction of himself in themiddle distance, perched on a promontory painting the Oxbow. He isan American producing American art, in communion with Americanscenery. There are both sketchbook drawings with annotations andrelated oil sketches of this subject. Many other artists copied orimitated the painting.

 

 

看查布克夫人,找经典画作 {续} - 于是 - 于是

The Voyage of Life

尽管我不太喜欢这种宗教格调的绘画,但这段表述还蛮有意思:ThomasCole prepared detailed explanatory texts for each painting in thisfour-part series. The following are Cole's own words about thispainting: A stream is seen issuing from a deep cavern, in the sideof a craggy and precipitous mountain, whose summit is hidden inclouds. From out the cave glides a Boat, whose golden prow andsides are sculptured into figures of the Hours: steered by anAngelic Form, and laden with buds and flowers, it bears a laughingInfant, the Voyager whose varied course the artist has attempted todelineate. On either hand the banks of the stream are clothed inluxuriant herbage and flowers. The rising sun bathes the mountainsand the flowery banks in rosy light.
The dark cavern is emblematic of our earthly origin, and themysterious Past. The Boat, composed of Figures of the Hours, imagesthe thought, which we are borne on the hours down the Stream ofLife. The Boat identifies the subject in each picture. The rosylight of the morning, the luxuriant flowers and plants, are emblemsof the joyousness of early life. The close banks, and the limitedscope of the scene, indicate the narrow experience of Childhood,and the nature of its pleasures and desires. The Egyptian Lotus inthe foreground of the picture is symbolical of Human Life.Joyousness and wonder are the characteristic emotions ofchildhood.

Cole's renowned four-part series traces the journeyof an archetypal hero along the "River of Life." Confidentlyassuming control of his destiny and oblivious to the dangers thatawait him, the voyager boldly strives to reach an aerial castle. Asthe traveler approaches his goal, the ever-more-turbulent streamdeviates from its course and relentlessly carries him toward thenext picture in the series, where nature's fury, evil demons, andself-doubt will threaten his very existence. Only pray er, Colesuggests, can save the voyager from a dark and tragicfate.
From the innocence ofchildhood, to the flush of youthful overconfidence, through thetrials and tribulations of middle age, to the hero's triumphantsalvation, The Voyage of Life seems intrinsically linked to theChristian doctrine of death and resurrection.

Trouble is characteristic ofthe period of Manhood. In Childhood there is no cankering care; inYouth no despairing thought. It is only when experience has taughtus the realities of the world, that we lift from our eyes thegolden veil of early life; that we feel deep and abiding sorrow;and in the picture, the gloomy, eclipse-like tone, the conflictingelements, the trees riven by tempest, are the allegory; and theOcean, dimly seen, figures the end of life, to which the voyager isnow approaching. The demon forms are the temptations that beset menin their direst trouble. The upward and imploring look of thevoyager, shows his dependence on God, and that faith saves him fromthe destruction that seems inevitable.

 

看查布克夫人,找经典画作 {续} - 于是 - 于是

Lake with Dead Trees,1825

 

看查布克夫人,找经典画作 {续} - 于是 - 于是

Falls of Kaaterskill(1826)
Oil on canvas 109.2 x 91.4 cm
Warner Collection, Tuscaloosa, Alabama

其实这两幅我很喜欢的。显然,画家面对人为景观和自然景观的状态很不一样,就像萨金特画肖像和画风景时截然不同一样。书中到了结局处,皮安波也自称,画下的风景都像是自画像。

 

John Constable (1776-1837)

John Constable was born inEast Bergholt, Suffolk, England on 11th June 1776. Initially hisfather, Golding Constable wanted young John to join him is hisprosperous corn business. By 1799 however it was obvious that Johnloved nothing more than drawing, so he was given an allowance tostudy at the Royal Academy in London. The art world was slow torecognize his talents. Landscapes were not considered veryimportant in his day, so he had to produce a few portraits for hisincome. He would often spend his Summers in East Anglia, makingsketches ready for them to be transformed into his beautiful workswhen he returned to his home in London. During these early years hecreated such works as Boatbuilding near Flatford Mill (1814-15)which can be seen in the Victoria and Albert Museum inLondon.

In 1819 he moved to HampsteadHeath on the outskirts of London. By this time his father had died,so he was more financially secure. He was now producing his bestwork, including The Haywain in 1821. The work was based on manysketches he had produced, many of which still survive. In 1824 TheHaywain was exhibited in Paris, where it won a gold medal. Thepainting caused a stir amongst the French art critics, who wereastonished by its freshness. In his later years he lectured, stilltrying to popularize landscape painting, but he died in 1837 withnone of the fame he now has.

也是为不得不为了养活自己画点肖像的画家,毕生心血和才华都在乡村风景中浓缩,对河流、天空、树木爱得非常详尽。去世时也没啥大名气。我们的主人公皮安波的祖父据说就是画这样的风景画的。

看查布克夫人,找经典画作 {续} - 于是 - 于是

The Haywain 1821

这幅画,我确信,如果能站在原画前欣赏,一定会被柔和的笔触所打动的!

 

看查布克夫人,找经典画作 {续} - 于是 - 于是

Salisbury Cathedral FromLower Marsh Close

这是书中所选用的画。查下来才知道,这一系列就有多福作品。

诸如

看查布克夫人,找经典画作 {续} - 于是 - 于是

Salisbury Cathedralfrom the Bishop's Grounds, ca. 1825

看查布克夫人,找经典画作 {续} - 于是 - 于是

Salisbury Cathedral From theMeadows” (1831).

 

看查布克夫人,找经典画作 {续} - 于是 - 于是

Wivenhoe Park, Essex, (1816)
这幅画的细部极其讲究,请看
http://www.essex.ac.uk/constable/details.htm#dam

 

看查布克夫人,找经典画作 {续} - 于是 - 于是

Stonehenge 1836,Watercolour
这是画家晚年的作品,和上面的细腻风景相比,真是迥然不同啊!

 

今日消化完毕。待续。

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