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September 21 办证和拆是具有中国特色的涂鸦回家的铁路两旁遍布涂鸦 看着挺花哨但是都看不懂 今天回家路上昏睡游离的状态中突然想到了‘办证 139xxxxxxxx’和‘拆’ 在国外人严重一定就是中国的涂鸦 既然关系到我国文化形象 就应该雇美院学生 发挥他们的创造力 弘扬民族文化 涂出绚丽的办证和拆 …… September 16 个人艺术观画画绝对靠感觉和状态 状态来了 即使是期中考试在即也不能阻挡
至今为止只尝试了4次画人物 都是照着电脑里的照片。 第一次画了三个小时 最耐心最用心 中间几乎擦掉了整个面部重新观察 人物头部占据了整个画面 最后画出来激动不已 没想到自己能画出像模像样的人物素描。第二次有了第一次的结果所以期望提高 但是结果不理想 在嘴的部分改了十多次 最后还是没办法画像 于是就将就了 后来发现问题不在嘴 而在整个头部几乎没有立体而言 所以表现不出面部特征。第三次结果更差 改动很多次都没法满意 于是撕掉重新打底 但因为情绪已经急躁 第二张连第一张都不如 最后没有成品。最近的一次再一次顺利的出奇 几乎没做重复改动 眼睛鼻子嘴的修改不超过3次就完成了 结果又是出乎我想像的像~ 激动一晚上。
最近突然重新投入热情 估计是被堪培拉的展览刺激了 先是浏览网上索引让lesi从法国寄poster 然后画素描 然后把好久不用的数位板翻出来上色 现在算是痛快了。
今天发现了ArtRage的新功能 它不仅可以导入图像做底层 不仅可以添加缩小版的图像参考着画 还能把画当做描红的底 然后画出新画来 就跟小时候大仿本练书法那个道理一样。没有条件搞色彩的时候 只能在软件上过过瘾 不过上了色的画和素描差别真的很大 画好素描得具备把所有颜色导成黑白灰的能力 但带色彩的得具备用颜色表达光线的能力。最早的绘画就是为了记录 所以有名的画都跟真的似的 自从有了摄影 有名的画就跟现实差距甚远了 越来越看不懂了 所以现在画画的目的也不是画的像了 当然画得像是种能力 只不过画不像也没关系 关键要展示摄影达不到的效果。每个人画画的线条手法都不一样 反映着性格和情绪。
我觉得艺术分为两种 一种是绘画雕塑摄影手工艺品等也就是占据空间的 另一种是音乐舞蹈歌剧电影等占据时间的 这两种的本质差别就是第一种作者和表演者融为一体在时间上是一个点 而第二种作者和表演者在时间上是分开的 作者可以将作品记录在任何媒介上 但只有当表演者进行表演时 它才具有它的表现力。因此欣赏音乐舞蹈 只有好的作者和好的表演者相结合才能具有最佳表现力。如果再细分 电影和交响乐 可以独立出来 因为表现这两种艺术形式需要三个角色：作者 表演指导 和表演者。譬如电影的编剧 导演和演员，交响乐的作曲 指挥和乐团。但其实电影的成分更加复杂 这是社会科技发展的必然趋势。所以在这些成分复杂的艺术形式中 艺术不在是单纯的艺术 欣赏的角度不再单一 结论就各有不同。所以 与其参杂在复杂的成分之中 不如从人类艺术起源开始 从简单的开始 看看活到80岁的时候能不能跟上人类艺术的脚步。 September 13 库尔贝太流氓了~July 14 Technique and style of El GrecoThe primacy of imagination and intuition over the subjective character of creation was a fundamental principle of El Greco's style. El Greco discarded classicist criteria such as measure and proportion. He believed that grace is the supreme quest of art, but the painter achieves grace only if he manages to solve the most complex problems with obvious ease.
El Greco regarded color as the most important and the most ungovernable element of painting, and declared that color had primacy over form.
In his mature works El Greco demonstrated a characteristic tendency to dramatize rather than to describe.[2] The strong spiritual emotion transfers from painting directly to the audience. According to Pacheco, El Greco's perturbed, violent and at times seemingly careless-in-execution art was due to a studied effort to acquire a freedom of style.[44] El Greco's preference for exceptionally tall and slender figures and elongated compositions, which served both his expressive purposes and aesthetic principles, led him to disregard the laws of nature and elongate his compositions to ever greater extents, particularly when they were destined for altarpieces.[49] The anatomy of the human body becomes even more otherworldly in El Greco's mature works; for The Virgin of the Immaculate Conception El Greco asked to lengthen the altarpiece itself by another 1.5 feet (0.46 m) "because in this way the form will be perfect and not reduced, which is the worst thing that can happen to a figure'". A significant innovation of El Greco's mature works is the interweaving between form and space; a reciprocal relationship is developed between the two which completely unifies the painting surface. This interweaving would re-emerge three centuries later in the works of Cézanne and Picasso.[49] Another characteristic of El Greco's mature style is the use of light. As Jonathan Brown notes, "each figure seems to carry its own light within or reflects the light that emanates from an unseen source".[50] Fernando Marias and Agustín Bustamante García, the scholars who transcribed El Greco's handwritten notes, connect the power that the painter gives to light with the ideas underlying Christian Neo-Platonism. Source from: http://en.wikipedia.org/wiki/El_Greco#cite_note-Landon330-43
May 23 Timeline This is timeline of life. Some leading artists I heard of from mid-19th to 20th century.
我原来一直以为 印象派都比后印象派的画家岁数大 年代早
真是大错特错
流派这个问题 太复杂了
但是七十岁老爷爷和一群三十岁小伙子追求一种东西感觉还是很奇怪
所以 流派先锋画家最起码应该是一个辈分的
每个流派都是之前出现的流派变异的产物
不过我个人认为二十世纪前的ism不应该称作流派 而应该称作主义
虽然现在怎么叫的都有
二十世纪的科学发展速度惊人 流派变异速度也较之以前明显增加
由先锋运动开始伴随着绘画 文学 建筑 音乐 哲学等一同发展 最后形成高峰
进入二十世纪流派艺术 一开始感觉晦涩难懂 不愿接近
但从十九世纪末印象派开始 顺着时间线 看历史的演变
这个过程非常美妙
大多数情况下 艺术中心 都是经济中心
二十世纪艺术中心明显的从欧洲转向了美国
于是 经济强大的 什么都是好的
整个社会来看 有钱才能画画 还是画了画才有钱？
我现在想想还是前者对
但是从个体来看 显然两者都有
……
越扯越远~ 停住！
今天又发现格列柯（El Greco）是个值得研究的伟大画家~
还有最后一个作业没写完 今天必须写作业！！
May 19 Provence我很蠢~
'Cezanne in Provence'
我想了好久~ Proven是被证明 那么Provence是？
实在想不明白 翻开书 看了超久
才反应过来 居然是 普罗旺斯
很喜欢这种以个人为主题的展览
可惜很少 因为一般要动用不同馆的馆藏 比较复杂
我直到去年年底在堪培拉 才头一回看了个德加个人主题的展览
所以就只能图书馆翻翻展览官方发行的出版物过过瘾~
学校这个Fine Art图书馆我来了一年了才发现 今天去转了转
图书馆超小 不起眼 但是画册按照画家分类在不同的格子里 不少
超好！
突然觉得塞尚超伟大 几乎影响了二十世纪所有的画家~
还有二十一世纪的我 哈哈哈~~
March 27 20 highlights of the National Gallery's collectionThe National Gallery houses one of the finest collections of Western European paintings in the world. This selection of 20 highlights includes some of the Gallery's best-loved works. There should have been 30 highlights, but last 10 paintings are so unfamiliar for me that I have to drop them temperarily. (All the copyrights of the pictures and words belong to the National Gallery) Sunflowers1888 VAN GOGH, Vincent NG3863. Bought by the Trustees of the Courtauld Fund, 1924.
Bathers at Asnières Full title: Bathers at Asnières ('Une Baignade, Asnières') 1884 SEURAT, Georges NG3908. Bought by the Trustees of the Courtauld Fund, 1924.
The Fighting TemeraireFull title: The Fighting Temeraire tugged to her Last Berth to be broken up, 1838 1839 TURNER, Joseph Mallord William NG524. Turner Bequest, 1856.
Bathers at La Grenouillère1869 MONET, Claude-Oscar NG6456. Bequeathed by Mrs M.S. Walzer as part of the Richard and Sophie Walzer Bequest, 1979.
Venus and Marsabout 1485 BOTTICELLI, Sandro NG915. Bought, 1874.
The Hay Wain1821 CONSTABLE, John NG1207. Presented by Henry Vaughan, 1886.
The Virgin of the RocksFull title: The Virgin of the Rocks (The Virgin with the Infant Saint John adoring the Infant Christ accompanied by an Angel) about 1491-1508 LEONARDO da Vinci NG1093. Bought, 1880.
Bathers (Les Grandes Baigneuses)about 1894-1905 CEZANNE, Paul NG6359. Purchased with a special grant and the aid of the Max Rayne Foundation, 1964.
The Madonna of the Pinks ('La Madonna dei Garofani')about 1506-7 RAPHAEL NG6596. Bought with the assistance of the Heritage Lottery Fund, The Art Fund (with a contribution from the Wolfson Foundation), the American Friends of the National Gallery, the George Beaumont Group, Sir Christopher Ondaatje and through public appeal, 2004.
The Baptism of Christ1450s PIERO della Francesca NG665. Bought, 1861.
Bacchus and Ariadne1520-3 TITIAN NG35. Bought, 1826. Signed on the urn, left foreground: ticianvs f. [ecit].
The Stonemason's YardFull title: Venice: Campo S. Vidal and Santa Maria della Carità ('The Stonemason's Yard') 1727-8 CANALETTO NG127. Sir George Beaumont Gift, 1823; passed to the National Gallery, 1828
The Supper at Emmaus1601 CARAVAGGIO, Michelangelo Merisi da NG172. Presented by Lord Vernon, 1839.
Samson and Delilahabout 1609-10 RUBENS, Peter Paul NG6461. Bought, 1980.
Whistlejacketabout 1762 STUBBS, George NG6569. Bought with the support of the Heritage Lottery Fund, 1997
The Wilton DiptychFull title: Richard II presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund ('The Wilton Diptych') about 1395-9 ENGLISH or FRENCH (?) NG4451. Bought with a special grant and contributions from Samuel Courtauld, Viscount Rothermere, C.T. Stoop, and The Art Fund, 1929.
The Arnolfini PortraitFull title: Portrait of Giovanni (?) Arnolfini and his Wife ('The Arnolfini Portrait') 1434 EYCK, Jan van NG186. Bought, 1842.
Self Portrait at the Age of 341640 REMBRANDT NG672. Bought, 1861. Signed and dated bottom right: Rembrandt. f 1640; inscribed: Conterfeycel [portrait].
Seaport with the Embarkation of Saint Ursula1641 CLAUDE NG30. Bought, 1824.
The Rokeby VenusFull title: The Toilet of Venus ('The Rokeby Venus') 1647-51 VELÁZQUEZ, Diego NG2057. Presented by The Art Fund, 1906. March 09 Degas's compositionThe paintings below are all collected from the exhibition of "Degas: Master of French Art" (NGA, Canberra). All these finished works (not sketches) have the similar structure as what I marked in the pictures----triangular structure, the most common and classical composition method. Also, every artist has the colour system which belongs to himself, obviously Degas's favorite colour is something like dark green, deep orange, tan and black. I found it today cuz I hung all my post cards collected from art galleries on my wall. This picture was created in his early years, clear lines and charactors, with some of his relatives in it. Next three are one of his favorite themes: racing. He was influenced by the modern photograghic techiques, and tried to catch up with the motive items. The following four are also his favorite theme: dancing, still the motive things as well as racing. He made a lot of sculpture when his sight became weak in his late years. Degas is exactly charactoristic one among those impressionists at the same time period. March 04 To be continued.....hahahaaa..----------2005---------
毕加索啥版画展览 南池子炎黄艺术馆 北京
中法文化年闭幕画展 中国美术馆 北京
----------2006----------
“啥啥”意大利文艺复兴精品展 中华世纪坛世界艺术馆 北京
“从莫奈到毕加索”印象派到现代派美国克利夫兰美术馆精品展 中华世纪坛世界艺术馆 北京
----------2007---------
空档
----------2008---------
“从古典到唯美”西蒙基金会19世纪欧洲精品展 中华世纪坛世界艺术馆 北京
"Monet and Impressionism" from Museum of Fine Art Boston Art Gallery of NSW, Sydney (November)
"Degas: Master of French art" from all kinds of Galleries National Gallery of Australia, Canberra (December)
----------2009---------
To be continued......
"Salvador Dali: Liquid Desire" from variaties of Galleries National Gallery of Victoria:International, Melbourne (June)
November 14 Notes----------2005---------
毕加索啥版画展览 南池子炎黄艺术馆 北京
与lyy同去 小规模展览 仅有毕加索的一些版画和设计草图 没有油画
中法文化年闭幕画展 中国美术馆 北京
与lyy同去 印象深刻的只有一进门的拿破仑画像 卢浮宫藏品 大卫画的
但当时并不知道大卫是谁
----------2006----------
“啥啥”意大利文艺复兴精品展 中华世纪坛世界艺术馆 北京
和bqs同去 在展览中认识了个叫卡拉瓦乔的画家 我觉得他的作用和后来的塞尚很像 （纯属个人观点）当时我对文艺复兴的一切都不了解 所以兴趣一般
“从莫奈到毕加索”印象派到现代派美国克利夫兰美术馆精品展 中华世纪坛世界艺术馆 北京
与lyy同去 60幅克利夫兰博物馆的镇馆之宝 从印象派莫奈毕沙罗德加马奈雷诺阿塞尚凡高高更 野兽派马蒂斯 到西方现代艺术主要流派的毕加索以及其他我不认识的画家 还有罗丹的雕塑 我主要去看凡高去了！因为我当时只能认出凡高的画~ 据说此次展览艺术和学术价值在国内引进的海外艺术展览中史无前例 可惜当时的我没有意识到 我以为在伟大首都北京这样的展览应该至少每年一次 不然我绝对不会只去一次！！
----------2007---------
看过空前绝后的展览之后 在这期间我这修养也在慢慢积累 但是这一年半近两年的时间空档了 我很失落啊！
----------2008---------
“从古典到唯美”西蒙基金会19世纪欧洲精品展 中华世纪坛世界艺术馆 北京
与bqs同去 为了拯救我渴望画展的心 世纪坛有新展讯了赶紧就去了 据说也算是规模较大的一次 但看过那个空前绝后之后这些就明显逊色了 有名的画家作品不多 就更别提有名画家的有名作品了 主要以古典主义浪漫主义和现实主义为主再外加一点儿点儿印象派 这次是“进修”西方美术史期间去的 这有了知识再看明显和以前感觉就不同了 居然能感受到古典和浪漫的区别了！！神奇！
"Monet and Impressionism" from Museum of Fine Art Boston Art Gallery of NSW, Sydney
继The Phantom of the Opera之后悉尼给我的又一大超级惊喜！30幅主要印象派画家作品 以莫奈为主 据说有有名的睡莲 卢昂大教堂 还有谷堆！！
计划中......回来补充
----------2009---------
To be continued......
January 16 Edgar Degas's viewpointWhat cause me to think about this question are the paintings below:
Apparently, there are the same structures in the position of those dancers:They all gather in the horizontally central part of the paintings. Nearer and bigger on the left, further and smaller on the right. This might be just an interesting coinsidence in my view. However, more value of Degas's paintings is the crapping and viewpoint.
I even do not know how to begin to introduce Degas, who seems to be my new friend and I just have a long talk with.
PERSONALITY:
Degas was discribed as haveing a non-conformist and rebel mind, and identifying him as an impressionist might be an understandable but insufficient dicription. He was born in Paris, was used to be contempted by the general public and critics, experimented in form and colour, and had a lot of impressionist friends, all of which make people to discribe him more accurate as an impressionist. However, his style also influenced by realism and some of modern photography, and never use impressionsim colour fleck.
MODERNITY:
Degas was born in the family of a banker, not lack of money and do not need to sell his painting for living. He also had friends work for orchestra. So he always chose those real-life subjects, such as dancer, concert, horse riding, and cofe house.
MOTION:
Degas was influenced by both impressionist movement and modern photography, which freezing the moment of time and portray it accurately like "snapshot" today. Degas seemed to be more interested in discribe motion than any other impressionists. He seized the motions: ballet dancer and horseriding.
VIEWPOINT&CRAPPING:
(to be continued) January 13 Portrait of Victor ChocquetVictor Chocquet是印象派画家们的好朋友~ 他通过对艺术纯粹的热爱成为了一个历史性的人物
作为一个没有丰厚收入的政府小职员~ 他被雷诺阿Renoir和塞尚Cezanne作品的美丽完全吸引~ 并且收集这些在当时还饱受评论家和公众嘲笑的作品~
雷诺阿和塞尚都分别为他做过多次肖像画~
今儿下午又从网上存了一些印象派画儿~ 然后发现他俩画的是一个人~
很明显~ 雷诺阿画儿里的人永远都是那么gentle~
Chocquet显得很放松~ 十指相交~ 微微的倚靠~ 眼神敏锐~
手指和发丝都是那么纤细柔软的感觉~ 让我感觉到Chocquet性格的温和和骨子里的锐气~
而塞尚的画儿我很难给出我的感觉~ 粗大的线条和结实的颜色~ 拉长的头部和奇怪的眼神~
WebMuseum.com上的评论说这幅画像有一种高贵~ 让人想起拿破仑年代的接近浪漫主义的肖像画~
而这种浪漫主义的理想化并不属于印象派肖像画~
还说这种头部的拉长好像弱化了的格列柯Greco（16世纪西班牙文艺复兴时期画家）画儿中的形象~
等等还有很多~ 这么多的Combination弄得我稀里糊涂的~
英文水平还是非常有限啊~ 可是中文资料是更加有限~
我唯一可以分辨的依据就是轻柔的像雾一样的雷诺阿的笔触和厚重的像金属一样的塞尚的线条~
下午还有一大发现就是德加Degas部分芭蕾舞演员的构图的一致性~ 下次再写吧
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