加载中…价值连城：MoMA名画选-具象艺术 图片集
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价值连城：MoMA名画选-具象艺术 图片集
现代艺术博物馆（MoMA）是年轻人喜欢的博物馆，是纽约时尚的制造者和传播者之一。 纽约MoMA与巴黎蓬皮杜中心、伦敦泰特现代美术馆并称全球三大现代艺术博物馆，其馆藏数量众多的绘画、雕塑、版画、摄影、设计、建筑等作品，吸引着来自全球的观众。
The Starry Night
Vincent van Gogh(Dutch, 1853-1890)
Saint Rémy, June 1889. Oil on canvas, 29 x 36 1/4" (73.7 x 92.1 cm). Acquired through the Lillie P. Bliss Bequest
472.1941
2006
"This morning I saw the country from my window a long time before sunrise," the artist wrote to his brother Theo, "with nothing but the morning star, which looked very big." Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Gogh's response to nature. In thick sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below. The village was partly invented, and the church spire evokes van Gogh's native land, the Netherlands.
Christina's World
Andrew Wyeth(American,
1917-2009)
安德鲁·魏斯《克里斯蒂娜的世界》
1948. Tempera on gessoed panel, 32 1/4 x 47 3/4" (81.9 x 121.3 cm). Purchase
16.1949
The woman crawling through the tawny grass was the artist's neighbor in Maine, who, crippled by polio, "was limited physically but by no means spiritually." Wyeth further explained, "The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless." He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow. In this style of painting, known as magic realism, everyday scenes are imbued with poetic mystery.
Gold Marilyn Monroe
Andy Warhol(American,
1928-1987) 安迪·沃霍《金色的玛丽莲·梦露》
1962. Silkscreen ink on synthetic polymer paint on canvas, 6' 11 1/4" x 57" (211.4 x 144.7 cm). Gift of Philip Johnson. © 2010 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
316.1962
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 241
Marilyn Monroe was a legend when she committed suicide in August of 1962, but in retrospect her life seems a gradual martyrdom to the media and to her public. After her death, Warhol based many works on the same photograph of her, a publicity still for the 1953 movie Niagara. He would paint the canvas with a single color—turquoise, green, blue, lemon yellow—then silkscreen Monroe's face on top, sometimes alone, sometimes doubled, sometimes multiplied in a grid. As the surround for a face, the golden field in Gold Marilyn Monroe (the only one of Warhol's Marilyns to use this color) recalls the religious icons of Christian art history—a resonance, however, that the work suffuses with a morbid allure.
In reduplicating this photograph of a heroine shared by millions, Warhol denied the sense of the uniqueness of the artist's personality that had been implicit in the gestural painting of the 1950s. He also used a commercial technique— silkscreening—that gives the picture a crisp, artificial look; even as Warhol canonizes Monroe, he reveals her public image as a carefully structured illusion. Redolent of 1950s glamour, the face in Gold Marilyn Monroe is much like the star herself—high gloss, yet transient; bold, yet vulnerable; compelling, yet elusive. Surrounded by a void, it is like the fadeout at the end of a movie.
Bauhaus Stairway
Oskar Schlemmer(German,
1888-1943) 奥斯卡·施莱默《包豪斯楼梯》
1932. Oil on canvas, 63 7/8 x 45" (162.3 x 114.3 cm). Gift of Philip Johnson
597.1942
Bauhaus Stairway depicts the Bauhaus, a school founded in 1919 by architect Walter Gropius, famous for its visionary integration of technology, art, and design. Although Schlemmer made this painting three years after he left his teaching position at the Bauhaus, the works gridded structure, streamlined modular bodies and predominant palette of primary colors capture the schools vibrant design spirit. The carefully choreographed arrangement of the figures and the man en pointe at the top of the stairs reflects Schlemmers role as the creator of many important dance and theatrical productions at the Bauhaus. Schlemmer painted this work as Hitler assumed power, shortly before the Nazis closed the Bauhaus for good. He was among many artists persecuted by the Nazis, whose work they deemed "degenerate" and often destroyed.
Les Demoiselles d'Avignon
Pablo Picasso(Spanish,
1881-1973) 巴勃罗·毕加索《阿威农少女》
Paris, June-July 1907. Oil on canvas, 8' x 7' 8" (243.9 x 233.7 cm). Acquired through the Lillie P. Bliss Bequest. © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
333.1939
The result of months of preparation and revision, this painting revolutionized the art world when first seen in Picasso's studio. Its monumental size underscored the shocking incoherence resulting from the outright sabotage of conventional representation. Picasso drew on sources as diverse as Iberian sculpture, African tribal masks, and El Greco's painting to make this startling composition. In the preparatory studies, the figure at left was a sailor entering a brothel. Picasso, wanting no anecdotal detail to interfere with the sheer impact of the work, decided to eliminate it in the final painting. The only remaining allusion to the brothel lies in the title: Avignon was a street in Barcelona famed for its brothel.
The Bather
Paul Cézanne(French, 1839-1906)
保罗·塞尚《浴者》
c. 1885. Oil on canvas, 50 x 38 1/8" (127 x 96.8 cm). Lillie P. Bliss Collection
1.1934
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999
The Bather is one of Cézanne's most evocative paintings of the figure, although the unmuscled torso and arms have no heroic pretensions, and the drawing, in traditional, nineteenth-century terms, is awkward and imprecise. The bather's left, forward leg is placed firmly on the ground, but his right leg trails and carries no weight. The right side of his body is pulled higher than the left, the chin curves lopsidedly, and the right arm is elongated and oblique. The landscape is as bare as a desert, but its green, violet, and rose coloration refuses that name. Its dreaming expanse matches the bather's pensiveness. Likewise, the shadows on the body, rather than shifting to black, share the colors of the air, land, and water; and the brushwork throughout is a network of hatch-marks and dapples, restless yet extraordinarily refined. The figure moves toward us but does not meet our gaze.
These disturbances can be characterized as modern: they indicate that while Cézanne had an acute respect for much of traditional art, he did not represent the male nude the way the classical and Renaissance artists had done. He wanted to make an art that was "solid and durable like the art of the museums" but that also reflected a modern sensibility incorporating the new understanding of vision and light developed by the Impressionists. He wanted to make an art of his own time that rivaled the traditions of the past.
Flower Festival: Feast of Santa Anita
Diego Rivera(Mexican, 1886-1957)
迪亚哥·利维拉 《鲜花丰收》
October 13, 1931. Encaustic on canvas, 6' 6 1/2" x 64" (199.3 x 162.5 cm). Gift of Abby Aldrich Rockefeller
23.1936
Rivera spent the tumultuous years of the Mexican Revolution (1910–20) painting and traveling abroad in Europe. Upon returning to his native country in 1921, he exalted indigenous Mexican people and traditions, making them a central subject of his work. As he later recalled, "My homecoming aroused an aesthetic rejoicing in me which is impossible to describe. . . . Everywhere I saw a potential masterpiece—in the crowds, the markets, the festivals, the marching battalions, the workers in the workshops, the fields—in every shining face, every radiant child." This painting, depicting a flower festival held on Good Friday in a town then called Santa Anita, was included in a solo exhibition of Rivera's work at MoMA in 1931. Only the second artist (after Henri Matisse) to receive this honor, Rivera was, at the time, an international celebrity: the New York Sun hailed him as "the most talked about artist on this side of the Atlantic."
Self-Portrait with Cropped Hair
Frida Kahlo(Mexican, 1907-1954)
弗里达·卡罗《自画像》
1940. Oil on canvas, 15 3/4 x 11" (40 x 27.9 cm). Gift of Edgar Kaufmann, Jr. © 2010 Frida Kahlo / Artists Rights Society (ARS), New York / SOMAAP, Mexico
3.1943
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 181
Kahlo painted Self-Portrait with Cropped Hair shortly after she divorced her unfaithful husband, the artist Diego Rivera. As a painter of many self- portraits, she had often shown herself wearing a Mexican woman's traditional dresses and flowing hair; now, in renunciation of Rivera, she painted herself short haired and in a man's shirt, shoes, and oversized suit (presumably her former husband's).
Kahlo knew adventurous European and American art, and her own work was embraced by the Surrealists, whose leader, André Breton, described it as "a ribbon around a bomb." But her stylistic inspirations were chiefly Mexican, especially nineteenth-century religious painting, and she would say, "I do not know if my paintings are Surrealist or not, but I do know that they are the most frank expression of myself." The queasily animate locks of fresh-cut hair in this painting must also be linked to her feelings of estrangement from Rivera (whom she remarried the following year), and they also have the dreamlike quality of Surrealism. For, into the work she has written the lyric of a Mexican song: "Look, if I loved you it was because of your hair. Now that you are without hair, I don't love you anymore."
The Dream
Henri Rousseau(French,
1844-1910) 亨利·卢骚《梦》
1910. Oil on canvas, 6' 8 1/2" x 9' 9 1/2" (204.5 x 298.5 cm). Gift of Nelson A. Rockefeller
252.1954
Although Rousseau completed more than
twenty-five jungle paintings in his career, he never traveled
outside France. He instead drew on images of the exotic as it was
presented to the urban dweller through popular literature, colonial
expositions, and the Paris Zoo. The lush jungle, wild animals, and
mysterious horn player featured in this work were inspired by
Rousseau's visits to the city's natural history museum and Jardin
des plantes (a combined zoo and botanical garden). Of his visits
the artist said, "When I am in these hothouses and see the strange
plants from exotic lands, it seems to me that I am entering a
dream." The nude model in this painting reclines on a sofa, mixing
the domestic and the exotic.
Dance (I)
Henri Matisse(French, 1869-1954)
亨利·马蒂斯《舞蹈》
Paris, Boulevard des Invalides, early 1909. Oil on canvas, 8' 6 1/2" x 12' 9 1/2" (259.7 x 390.1 cm). Gift of Nelson A. Rockefeller in honor of Alfred H. Barr, Jr. © 2010 Succession H. Matisse, Paris / Artists Rights Society (ARS), New York
201.1963
In March 1909, Matisse received a commission from the Russian merchant Sergei Shchukin for two large decorative panels, Dance and Music (now in the Hermitage Museum, St. Petersburg). This painting was made quickly as a compositional study for Dance, which was intended to hang on a staircase landing at Shchukin's Trubetskoy Palace, in Moscow. The figure at left appears to move purposefully, while the other dancers seem to float weightlessly. The momentum of their movement breaks the circle as the arm of the foreground dancer reaches out. Dance, Matisse once said, evoked "life and rhythm."
The Sacrifice (Das Opfer) (plate 1) from War (Krieg)
Käthe Kollwitz(German,
1867-1945) 凯绥·柯勒惠支《牺牲》
(1922, published 1923). Woodcut from a portfolio of seven woodcuts and one woodcut cover, composition (irreg.): 14 5/8 x 16 1/16" (37.2 x 40.8 cm); sheet: 18 3/4 x 25 11/16" (47.6 x 65.3 cm). Gift of the Arnhold Family in memory of Sigrid Edwards. © 2010 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
470.1992.1
Water Lilies
Claude Monet (French, 1840-1926)
克劳德·莫奈《水莲花》
1914-26. Oil on canvas, three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm). Mrs. Simon Guggenheim Fund
666.1959.a-c
Monet's Water Lilies
September 13, 2009–April 12, 2010
In this triptych Monet depicted his Japanese-style pond covered with water lilies, at center, shimmering with reflections of clouds overhead. The water's surface fills the expansive composition so that conventional clues to the artist's—and the viewer's—vantage point are eliminated. Monet wished for the paintings to encompass the viewer: in his designs for the Musée de l'Orangerie in Paris, he specified that the Water Lily canvases be displayed on curved walls.
2006
The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium."
The Persistence of Memory
Salvador Dalí (Spanish, 1904-1989)
萨尔瓦多·达利《记忆的永恒》
1931. Oil on canvas, 9 1/2 x 13" (24.1 x 33 cm). Given anonymously. © 2010 Salvador Dalí, Gala-Salvador Dalí Foundation/Artists Rights Society (ARS), New York
162.1934
Dalí: Painting and Film
June 29–September 15, 2008
Time is the theme here, from the melting watches to the decay implied by the swarming ants. The monstrous fleshy creature draped across the paintings center is an approximation of Dalís own face in profile. Mastering what he called "the usual paralyzing tricks of eye-fooling," Dalí painted this work with "the most imperialist fury of precision," but only, he said, "to systematize confusion and thus to help discredit completely the world of reality." There is, however, a nod to the real: The distant golden cliffs are those on the coast of Catalonia, Dalís home.
Publication Excerpt: The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999
The Persistence of Memory is aptly named, for the scene is indelibly memorable. Hard objects become inexplicably limp in this bleak and infinite dreamscape, while metal attracts ants like rotting flesh. Mastering what he called "the usual paralyzing tricks of eye-fooling," Dali painted with what he called "the most imperialist fury of precision," but only, he said, "to systematize confusion and thus to help discredit completely the world of reality." It is the classical Surrealist ambition, yet some literal reality is included too: the distant golden cliffs are the coast of Catalonia, Dali's home.
Those limp watches are as soft as overripe cheese—indeed "the camembert of time," in Dali's phrase. Here time must lose all meaning. Permanence goes with it: ants, a common theme in Dali's work, represent decay, particularly when they attack a gold watch, and become grotesquely organic. The monstrous fleshy creature draped across the painting's center is at once alien and familiar: an approximation of Dali's own face in profile, its long eyelashes seem disturbingly insectlike or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail.
The year before this picture was painted, Dali formulated his
"paranoiac-critical method," cultivating self-induced psychotic
hallucinations in order to create art. "The difference between a
madman and me," he said, "is that I am not
mad."
2006
Dalí rendered his fantastic visions with meticulous verisimilitude, giving the representations of dreams a tangible and credible appearance. In what he called "hand painted dream photographs," hard objects become inexplicably limp, time bends, and metal attracts ants like rotting flesh. The monstrous creature draped across the painting's center resembles the artist's own face in profile; its long eyelashes seem insectlike or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail.
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