看查布克夫人，找经典油画看（强文转贴）(页 1) - 杰弗里·福特分馆 - ≡奥德赛公会≡ 奇幻论坛|无冬之夜|被遗忘的国度|奇幻文学|奇幻小说下载|龙与地下城资料|欧美漫画

Lala 2008-4-4 18:57

看查布克夫人，找经典油画看（强文转贴）

[b]作者：于是[/b]
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读这本书实在是放不下来。不仅是精彩悬念导致与时间消逝相抵抗的阅读渴望，还有行文中时不时冒出来的艺术家信息。*|tM8s8b1`(]

没有信息量的小说只能是口水和故事提纲的稀薄混合。信息量，则可以是当下时局、经济、文化和城市基础建设动向，而选用艺术史磅礴的素材作为别有寓意的信息点时，往往会有惊人的启发性，运用得当的话，对情节来说是最佳背景。
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我在心情非常适合读书的晚餐后，拿起这本书，一下子看去200页。推动我离开沙发和阅读灯的动力之一，是上网来查看这些提到的艺术家资料。权当是一种可供分享的阅读笔记吧，而且是带画儿的。^.V+h)sYz`

在此又想到曾经有过的遐想：对这种书，大量注释已经实在不该停留于文字叙述，最好有种链接式的电子注释，图文并茂地能满足我这样的读者大量的好奇心。 ^q\1o}2\j+bm`

[color=Red]P5，提到里德先生时，“棱角分明的面部似乎是圣高登斯一斧一凿雕刻而成。”
Saint-Gaudens，Augustus Saint-Gaudens - American sculpture (1848-1907)[/color]$zFbTv)`!P

[attach]17679[/attach] dO A1T b"R1S
The Puritan, 1899
Bronze, 31 x 18 x 13 in. k1`(`{%{Y7}#gf
Gift of Charles K. Arter, Jr. (Class of 1936).O9S?4S'P r8k#?9i7G
AC 1961.203y6V(^0K0?$n7AX
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[attach]17680[/attach]
Diana of the Tower
Above conceived 1892/1893, cast 1899
National Gallery of Art, Washington D.C.?0h6}k0m6hY
bronze 96.6 x 48.5 x 28.9 cm (38 x 19 1/8 x 11 3/8 in.)
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[attach]17681[/attach]m&BJ1A$oP m
这枚，是由奥格斯特·圣高登斯(Augustus EG_pxX mU
SaintGaudens)在一九零七年设计的。其中一面铸着一只飞向太阳，姿态雄伟的老鹰，太阳的光线打在它的身上。那只鹰的上方刻着几个字：美利坚合众国、二十元。

[color=Red]P10，提到维德的画，“某幅油画中被冲上岸的腐烂的巨兽尸体一样”*lgz]XJ
Elihu Vedder (American, 1836–1923),American Symbolist Painter[/color]

[attach]17682[/attach]
The Pleiades, 1885D#iH#Qj9K
Oil on canvas; 24 1/8 x 37 5/8 in. (61.3 x 95.6 cm)
By the eighteenth century, the himation not only narrowed and attenuated, it y.nf.m,txMR0D
also took on a gossamer insubstantiality. Elihu Vedder's painting of the
Pleiades includes long shawls and bias sashes that establish a classicizing
intention and allusion.
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[attach]17683[/attach]|&MEb} hz~
The Sphinx of the Seashore
date: 1879-80.fr%os'C
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[attach]17684[/attach]a [UL]&@8u"[d
Memory 1870

[attach]17685[/attach]
书籍装帧
One more 1880s picture - the American Elihu Vedder, in an English magazine, in a UD+I%fYH&?:@
lively style - ascerbic and harsh, with a simple composition, based on lines
radiating out from the bottom towards the left - the skeleton's broom, the line
of his drapes, the sword and the axe on the floor. Patches of black increase the -][h+LU T1c
diagonality of the picture. The text is on a signpost in the world of the
skeleton, who is coming out from behind it, very different from the separate w F l1N9?
place of text and decoration in the previous pictures. There is depth to this
picture, but a very shallow depth, bringing the viewer very close or almost in :_/m$U*?lUI L S
to the picture.

[color=Red]P11 提到约翰.萨金特 “人们都是‘虚荣心’的奴隶，即所有的绘画技巧都是因为那些有钱人的需求”0D M L8yz#HE$d
John Sargent，American painter  1892-93 [/color]

[attach]17686[/attach]zyuhc$C-p#q
Lady Agnew of LochnawC?+D/R+`fgQ
National Gallery of Scotland, Edinburgh
Oil on canvas 124.5 x 99.7 cm  (49 x 39 1/4 in.)
Purchased with the aid of the Cowan Smith Bequest Fund 1925
In late 1892 John began work on the portrait of Lady Agnew, commissioned by Z.ZA9WG
Andrew Noel Agnew, a barrister who had inherited the baronetcy and estates of q)jn^2hW&N
Lochnaw in Galloway. The sitter was to be of his young wife, Gertrude Vernon C0lq R^+k&p9V
(1865-1932). The painting was done in a "high key" and carefully finished. "It 4C f9B$[Fg0KF
is a careful portrait, free of any fine frenzy, sedately handled, and rather
lacking in the force and fire  of his daring technique" (Charteris, P136).
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[attach]17687[/attach]
Mrs. John J. Chapman"

[attach]17688[/attach]
<Rio Delle Due Torri> by John Singer Sargent ca. 1876-1925
不画肖像时，萨金特的笔就像另一个人的。

[color=Red]P12 提到“灰马”这幅画，以及相关的故事。书中有黑白插图。很模糊
Albert Pinkham Ryder (1847-1917)[/color]
[attach]17689[/attach]9r8X|9jzS7`y
was an American painter best known for his poetic and moody allegorical works ;c ^_qLs S9q|
and seascapes, as well as his eccentric personality. While his art shared an
emphasis on subtle variations of color with tonalist works of the time, it was MS2iE&\9Yan
unique for accentuating form in a way that some art historians regard as
modernist.
更多：1 2
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[attach]17690[/attach]
The Race Track (Death on a Pale Horse) (1895 - 1910),\.c0Q4^T ~V5l:w&L
Cleveland Museum of ArtE9f!R*D&V&H5o
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[attach]17691[/attach]
Albert Pinkham Ryder's "Jonah" is Elizabeth Broun's favorite. (The Renwick @L3k0M9nT!m
Gallery)
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[attach]17692[/attach]DmF(V_,V8F:m
Siegfried and the Rhine Maidens, c. 1891G,I~9Rr9FUm
National Gallery of Art, Washington, D.C., Mellon Collection]vI/l"tqM
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[attach]17693[/attach]
Moonlight 1887$PLD'gE$HnT
oil on mahogany panel, cradled 40.40 X 45.00 cmRa}p#rn
Smithsonian American Art Museum, Gift of William T. Evans

Toiler of the Sea{,k-?O6T#I8e

[attach]17694[/attach]Ccu}R'Y#Pb
Dead Bird:^Q1[/mFHh
c. 1879
Oil on panel 4 1/4 x 7 1/8 in. (11.4 x 18 cm)8pEb.u z ea]6UT
The Phillips Collection, Washington

[attach]17695[/attach]
LANDSCAPE, C. 1870.&^ P&fVnT#?
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作者福特选择用Ryder的画来做重要的预示。这些充满哥特内涵的短促弯曲的笔触铺出了一种足以抵御时代的终极性。也许之前也在某些场合见过Ryder的画，但因为这本书，这下我可记住了。

Lala 2008-4-4 19:27

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。,B"Y2V P$ZG9kR.m%a
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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。

[attach]17696[/attach]
The Course of the Empire - Consummation of the Empire (Oil, 1836)
This is the third in Thomas Cole's "Course of the Empire" series. (Be sure to start at the first painting so that you can see how the sun rises and moves through the sky. The mountain in the background remains throughout, but in the foreground, there are considerable changes.)
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Here are the links to each of the paintings: First Painting - Second - Third - Fourth - Lastr gBnJ%[a
[attach]17697[/attach] C"l,_Mo3u

书中插画即这幅《河套》
View from Mount Holyoke Northampton Massachusetts after a Thunderstorm（1836）Oil on canvas; (130.8 x 193 cm)#O0q(qB!W|fo(tu
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Description:
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Long known as "The Oxbow," this work is a masterpiece of American landscape painting, laden with possible interpretations. In the midst of painting "The Course of Empire" (New-York Historical Society), Cole mentioned in a letter dated March 2, 1836, to his patron Luman Reed that he was executing a large version of this subject expressly for exhibition and sale. The picture was shown at the National Academy of Design in 1836 as "View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm." Cole`s interest in the subject probably dates from his 1829?2 trip to Europe, during which he made an exact tracing of the view published in Basil Hall`s "Forty Etchings Made with the Camera Lucida in North America in 1827 and 1828." Hall criticized Americans` inattentiveness to their scenery, and Cole responded with a landscape that lauds the uniqueness of America by encompassing "a union of the picturesque, the sublime, and the magnificent." Although often ambiguous about the subjugation of the land, here the artist juxtaposes untamed wilderness and pastoral settlement to emphasize the possibilities of the national landscape, pointing to the future prospect of the American nation. Cole`s unequivocal construction and composition of the scene, charged with moral significance, is reinforced by his depiction of himself in the middle distance, perched on a promontory painting the Oxbow. He is an American producing American art, in communion with American scenery. There are both sketchbook drawings with annotations and related oil sketches of this subject. Many other artists copied or imitated the painting.0]}h;C yJ%Y;AH-@
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[attach]17698[/attach]
The Voyage of LifeP^9RC Z\
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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：Thomas Cole prepared detailed explanatory texts for each painting in this four-part series. The following are Cole's own words about this painting: A stream is seen issuing from a deep cavern, in the side of a craggy and precipitous mountain, whose summit is hidden in clouds. From out the cave glides a Boat, whose golden prow and sides are sculptured into figures of the Hours: steered by an Angelic Form, and laden with buds and flowers, it bears a laughing Infant, the Voyager whose varied course the artist has attempted to delineate. On either hand the banks of the stream are clothed in luxuriant herbage and flowers. The rising sun bathes the mountains and the flowery banks in rosy light.e*{%TLk5b1t&I

The dark cavern is emblematic of our earthly origin, and the mysterious Past. The Boat, composed of Figures of the Hours, images the thought, which we are borne on the hours down the Stream of Life. The Boat identifies the subject in each picture. The rosy light of the morning, the luxuriant flowers and plants, are emblems of the joyousness of early life. The close banks, and the limited scope of the scene, indicate the narrow experience of Childhood, and the nature of its pleasures and desires. The Egyptian Lotus in the foreground of the picture is symbolical of Human Life. Joyousness and wonder are the characteristic emotions of childhood.
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Cole's renowned four-part series traces the journey of an archetypal hero along the "River of Life." Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature's fury, evil demons, and self-doubt will threaten his very existence. Only pray er, Cole suggests, can save the voyager from a dark and tragic fate.

From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero's triumphant salvation, The Voyage of Life seems intrinsically linked to the Christian doctrine of death and resurrection. q!@]0D9lS#C

Trouble is characteristic of the period of Manhood. In Childhood there is no cankering care; in Youth no despairing thought. It is only when experience has taught us the realities of the world, that we lift from our eyes the golden veil of early life; that we feel deep and abiding sorrow; and in the picture, the gloomy, eclipse-like tone, the conflicting elements, the trees riven by tempest, are the allegory; and the Ocean, dimly seen, figures the end of life, to which the voyager is now approaching. The demon forms are the temptations that beset men in their direst trouble. The upward and imploring look of the voyager, shows his dependence on God, and that faith saves him from the destruction that seems inevitable.dV\|~Tp[I
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Lake with Dead Trees, 18259]1j2f:yrjD{
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[attach]17700[/attach]2zwkst:Tw(HmX
Falls of Kaaterskill (1826)N)jn N;^8R

Oil on canvas 109.2 x 91.4 cm#~:|/gB*`"om)Xm

Warner Collection, Tuscaloosa, Alabama_-mb^y
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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。 {f.y(GQ KM

John Constable （1776-1837）
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John Constable was born in East Bergholt, Suffolk, England on 11th June 1776. Initially his father, Golding Constable wanted young John to join him is his prosperous corn business. By 1799 however it was obvious that John loved nothing more than drawing, so he was given an allowance to study at the Royal Academy in London. The art world was slow to recognize his talents. Landscapes were not considered very important in his day, so he had to produce a few portraits for his income. He would often spend his Summers in East Anglia, making sketches ready for them to be transformed into his beautiful works when he returned to his home in London. During these early years he created such works as Boatbuilding near Flatford Mill (1814-15) which can be seen in the Victoria and Albert Museum in London.
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In 1819 he moved to Hampstead Heath on the outskirts of London. By this time his father had died, so he was more financially secure. He was now producing his best work, including The Haywain in 1821. The work was based on many sketches he had produced, many of which still survive. In 1824 The Haywain was exhibited in Paris, where it won a gold medal. The painting caused a stir amongst the French art critics, who were astonished by its freshness. In his later years he lectured, still trying to popularize landscape painting, but he died in 1837 with none 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。

[attach]17701[/attach]9?-y)g*\&xB9u3_:H
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！
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[attach]17702[/attach]GX~Zp]V)t
Salisbury Cathedral From Lower Marsh Closeh1rwo2tw y8zxP

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。gIs&Lqt[5\wyb/d

诸如|5sm7Lw

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Salisbury Cathedral from the Bishop's Grounds, ca. 1825"NycC_

[attach]17704[/attach],Mk8Yt/G Z,g$Dg
Salisbury Cathedral From the Meadows” (1831).*BUB@ZM{ j

Wivenhoe Park, Essex, (1816)|3a^6i3G@W Q#B|z p

这幅画的细部极其讲究，请看[url]http://www.essex.ac.uk/constable/details.htm#dam[/url]u r*I(y`:qz!H y!G
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Stonehenge 1836, WatercolourQ(qd_C9l6u
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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！

Lala 2008-4-4 19:38

[attach]17705[/attach]
舍恩兹是书中关键的形象。他住在下东区，“地狱的厨房”，给黑帮老大画肖像，酬金以“被保护”手段支付，不会有人敢欺负他，实在是核算的买卖，尤其相比于用糖果收买富家小公子们以便让他们消停片刻才能画画。 \RZ%hXU e
舍恩兹把沃尔夫、赤道人都介绍给皮安波，也如同着魔一般要挖出查布克夫人的真相。到结局时，个中原因才能见分晓。
我喜欢舍恩兹这个人物。他刻薄，因为见识了才华和财富在自身的癫狂流散；他颓废，不仅是因为鸦片和酒精消磨了意志；他狡黠，懂得在世界的底层黑暗处和高层光鲜处窥见和外表相反性质的真谛，也因而睿智。这是个生活上无政府主义的家伙，但在艺术上，我不得不吃惊一下，他竟然是个虔诚的前拉斐尔画派。~'B"VUT7F

P63页时，他提到了前拉斐尔画派的巨擘，伯恩琼斯。9nlE'J K1L

他的画太迷人了。还留下许多书籍插画和装帧作品。my&i Vqn
与其说选用诸多神话人物，不如说是洞悉了人类心目中对神秘的审美倾向。我本来就很喜欢他的画。所以一想到舍恩兹画出了这样风格的查布克，却因此倾家荡产才华丧尽，实在非常好奇地想知道那将是怎样的作品。
伯恩琼斯始终没有经过学院画法教育，是完全自发地培养出这种高超技法和个人风格。据说，他总是手头同时画几幅画。宗教历史、传说、神话是他的主题，梦幻般的意境，加上极其微细出神的刻划，被画中人的充满戏剧性的神情所打动，实在是一定的。
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Burne Jones (Q)Y%zR'B\
[attach]17706[/attach]4BogS4[T4d%h
The Golden Stairs 1866-80)U+dq[8wY"T3p
Oil on canvas 277 x 117 cm
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[attach]17707[/attach]
King Cophetua and the Beggar Maid 18849AXQ f9Wu-yE
Oil on canvas 109 x 46 in
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[attach]17708[/attach]c.v/|^wB
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[attach]17709[/attach]

[attach]17710[/attach]
The Beguiling of Merlin (1874)_S!h)pH5G/x
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Pan and Psyche P0W!lZ1V+K)RK
1872-74, Oil on canvas
Fogg Art Museum at Harvard UniversityS+p!OY9dc
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[attach]17712[/attach]5j5Z R)xM nW
wedding of psyche
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[attach]17713[/attach]
Doom Fulfilled 1884

[attach]17715[/attach]
The Last Sleep of Arthur in Avalon (detail) HWe$i/z6G

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Angel Playing a Flageolet+vOr.@J_
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[attach]17716[/attach]C.o5Qyl/@P|)NtY0B
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他为教堂St Philip's Cathedral设计的彩色玻璃
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[attach]17718[/attach]ad,I/_;M_Ui
书籍插画YC1`4zy$Yw

[attach]17719[/attach]/UM+kG-~.oH
The Merciful Knight 1863 也是我最最喜欢的一副。

lofeiy 2008-4-8 22:40

好一场飨宴。;}5IFsom*]9Kt"Rr ]

将现实历史织入小说，尤其涉及艺术品如画作雕像等时，总让人在阅读时心头涌上某种接近纯粹的具现感，仿佛身临其境，甚至投射角色，任意变换立场或处境。,khs^|&Oa`
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若说乐趣，这也许便是阅读所能带给人最丰富的极致了（笑）

查看完整版本: 看查布克夫人，找经典油画看（强文转贴）

看查布克夫人，找经典油画看（强文转贴）