【Google Arts & Culture】2018-09-08周六

2019-09-08 Saturday

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作品描绘的场景正如标题“Race to the market, Tahiti”，近景是为早一步到达市场而竞速的小贩，背景则是法属波利尼西亚向风群岛中的最大岛屿塔希提岛（Tahiti）的热带风光。Tahiti还有另一个出名的音译名叫大溪地。这是一座位于大洋洲南太平洋地区的热带岛屿，四季如春，物产丰厚，被称为“最接近天堂的地方”。当然，依我看来，世界大概是平的，毕竟有那么多接近天堂的地方，一笑。不过塔希提岛的美，大概是毋庸置疑的，有许多的艺术家前去创作，比如名画《两位塔希提妇女》的作者综合主义的鼻祖，高更。而以前提过的《月亮和六便士》的故事，就是在这个岛屿上发生的。
在ins上搜了下，风景如画：

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作品是尼古拉斯·舍瓦利耶于1880创作的，收藏于Art Gallery of New South Wales。

2018-09-07 Friday

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Two Thatched Cottages (法语Les deux chaumières)，意味两个茅草屋。作者Armand Séguin是一位Post-Impressionism的法国画家，师从Pont-Aven School（阿旺桥学派）的Paul Gauguin。
保罗·高更与梵高、塞尚并称为后印象派三大巨匠，1886年、1888年高更都曾去阿旺桥创作教学，在当时阿旺桥是远离城市、未遭游客侵蚀，生活成本低的picturesque place。之后四十年，这个位于法国菲尼斯泰尔省南部,充满浓烈的布列塔尼地域风情,距巴黎有5个小时车程的小地方，变成了现代艺术的摇篮，见证了综合主义的诞生。而时至今日，高更的追随者们来到了Pont-Aven，为这儿带来了更多了新鲜血液和艺术灵感。这一点和中国成都的蓝顶艺术中心很像，比起北京798、上海M50，这个位于双流镇农村的地方，也是最开始由几个艺术家来此创作，慢慢有了影响力，吸引了更多的艺术创作者聚集。
英国作家毛姆的《moon and sixpence》就是以Gauguin为蓝本创作的。
成都博物馆在2017年11月的时候，有一场特展，叫『现代之路：传统走向现代』，展示十九世纪的初期，到二十世纪末的作品。在这一时期，第一次，生存与毁灭成为了全人类的问题。莫奈的《睡莲》象征了他开始展示主观的东西，开始平视自然，开始表现“我”看到的自然，而不是现实中的自然。而后的后印象主义的现代艺术，则是没有标准答案的，你看到什么就是什么。 所见即所得，所思即所画。
言归正传，这幅 Pont-Aven School的作品，体现了后印象派中综合主义的特点，夸张的色彩，将观察和风景本身混合在一起，把自己的主观赋予到作品中，流动的山丘和云彩般变化的树林，这是非常不同于坚固几何图形的创作手法。

另：作品收藏于Indianapolis Museum of Art at Newfields ，本馆位于美国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于1964创作的，收藏于Barjeel Art Foundation。It's Painting type
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2018-09-05 Wednesday

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

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这副画是珍妮·奥古斯塔·布朗斯科姆1887年的作品，Love’s Young Dream，收藏于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.
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2018-08-**

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作品Market in Piazza del Municipio，Giovanni Michele Graneri于1740创作，该作品收藏于都灵的 Palazzo Madama（即Civic Museum of Ancient Art）。材质是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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