↗睡莲(百子莲)
克洛德·莫奈
Gift of Louise S. Richards in honor of William Mathewson Milliken on his 85th year · 克利夫兰艺术博物馆
图像许可: CC0 · 博物馆记录与图像来源 ↗
Ernst Ludwig Kirchner made this print during the first year that he learned the lithographic process. In contrast to convention, he wished to make it immediately apparent that a lithograph was not a drawing. To do so, he used lithographic wash to draw right to the edges of the stone, abruptly cutting off the composition and emphasizing the stone’s irregular contour with inked edges. The spontaneity of the quickly drawn marks that mimic the weather and wind of the sea, coupled with the emphasis on the materiality of the stone, matched Kirchner’s quest for truth in his art.
馆藏文字 · 克利夫兰艺术博物馆 · CC01908年海景石版、约1914年街景及1924年肖像,以不同印刷工艺及压缩方式组织图像。比较破碎明暗与凸版刀刻边缘,以及人物或风景如何转成尖锐节奏。黑白可与鲜艳绘画同样有力。
以下为艺术家整体创作背景,单件作品可能有所不同。
石版及木刻,在表现性版画实践中形成不同肌理。
棱角身体、压缩空间及有力刀痕,让熟悉题材显得不稳定。
黑白对比可与饱和油彩同样有力,所选版画直接呈现这一点。
从眼前可见之处开始:形状、表面、色彩与尺度。所列材料可能怎样影响作品的制作方式与观看体验?
观看提示 · 邀请你观察,而非对历史的定论。