2017年2月9日 星期四

J.M.W. Turner / Turner began his career:JOHN BERGER:"Turner and the Barber’s Shop” ;Simon Michael Schama

"Turner and the Barber’s Shop” suggests a possible relation between Turner’s childhood experiences as the son of a barber, what he must have so often seen in the shop, and his innovations as a painter. Berger writes:
Consider some of his later paintings and imagine, in the backstreet shop, water, froth, steam, gleaming metal, clouded mirrors, white bowls or basins in which soapy liquid is agitated by the barber’s brush and detritus deposited. Consider the equivalence between his father’s razor and the palette knife which, despite criticisms and current usage, Turner insisted upon using so extensively. More profoundly—at the level of childish phantasmagoria—picture the always possible combination, suggested by a barber’s shop, of blood and water, water and blood.
Much of what I love about Berger is writ small here. How, with his signature mixture of profundity and common sense, he manages to link Turner’s personal and class history with his experimental artistic form. Berger is less making a verifiable argument (although I’m convinced) than he is asking us to participate in a thought experiment, to “imagine” the links between a painter many consider the father of abstraction and his own father’s concrete profession. Berger is telling us a story. A seascape and a washbasin—I start to see one in the other, the scales reversible. (Berger’s essay makes me think of that stanza of Dickinson’s: “The brain is deeper than the sea, / For, hold them, blue to blue, / The one the other will absorb, / As sponges, buckets do.”)

Wrap up warm & brave the outdoors! We're heading for a cold, bright weekend like Turner's Norham Castle, Sunrise

Painted in 1839, Turner's 'The Fighting Temeraire' is one of our most spell-binding works. The painting was presented to the Gallery in 1856 as part of the Turner Bequest, and you can now visit it in Room 34.

Which Rigi is your favourite? Discover the mountain that kept Turner inspired ‪#‎LateTurner‬ http://ow.ly/DtaIE http://ow.ly/i/7nri3

Have you seen Turner's sketchbooks?

With dark and ominous clouds ahead, who could inspire this week's Tate weather but J.M.W Turner http://ow.ly/CzxEJ

Simon Michael Schama, CBE (born 13 February 1945) is a British historian and art historian. He is a University Professor of History and Art History at Columbia University.[1] He is perhaps best known for writing and hosting the 15-part BBC documentary series A History of Britain. Other works on history and art include The Embarrassment of Riches, Landscape and Memory, Dead Certainties, Rembrandt's Eyes,[2] and his history of the French Revolution, Citizens.[1] Schama is an art and cultural critic for The New Yorker.[1]


2006年BBC 與Simon Schama's J.M.W. Turner

  應該特別感謝此真人情感真面目. Turner 不愧是大家.....如片頭所言: 你自以為知道Turner很深入.....其實另有真章. 我還沒空寫他所以將貴文插入:http://hccart.blogspot.tw/2008/09/turner-began-his-career-copying-old.html 

In 2006 the BBC broadcast a new TV series, Simon Schama's Power of Art which, with an accompanying book, was presented and written by Schama. It marks a return to art history for him, treating eight artists through eight key works: Caravaggio's David with the Head of Goliath, Bernini's Ecstasy of St Theresa, Rembrandt's Conspiracy of Claudius Civilis, Jacques-Louis David's The Death Of Marat, J. M. W. Turner's The Slave Ship, Vincent van Gogh's Wheat Field with Crows, Picasso's Guernica, and Mark Rothko's Seagram Murals.[18] It was also shown on PBS in the United States.[19]

Catherine Yen 分享了 1 條連結

(1) 我想分享給喜歡藝術的朋友們一點點小禮物,以下是由英國BBC製作, Simon Schama 口述有關英國畫家 JMW透納 的藝術與生平 ,資料非常詳細,將透納的藝術與生平與採擷的史實結合,拍成感人肺腑的影片。

(2) BBC 和Simon Schama合作的影片,還包括 林布蘭、畢卡索、Giuseppe Arcinboldo,羅斯科等非常多重要影片,如果有空可以"Simon Schama" 或 藝術家的英文名字為關鍵字,到you tube去找就有看不完的好藝術品可欣賞了

(3) 像喜歡俄羅斯美術的,關鍵字Hermitage, Tretyakov Gallery 等,前者是冬宮,後者是特列雅可夫美術館~是巡迴展覽畫派(Itinerant )畫作之大本營,舉凡列維坦(Levitan),列賓(Repin).Shiskin, Surikov, Vrubel等的精彩傑作都在Tretyakov Gallery。 而普希金美術館(Pushkin)則藏有豐富的印象派作品

(4)另有網路 Mark Harden Archive, 也很精彩,哈登先生將藝術家的名字由A 到Z按訓序安排,並且也將各流派( Circle or school)資料整合,所以你只要知道key word, 網路就是大教室,你們可隨心所欲閱讀。




Revealed: how Turner began his career copying the old masters

By Arifa Akbar, Arts Correspondent
Thursday, 4 September 2008
Claude Lorrain, Moses Saved From The Waters
Claude Lorrain, Moses Saved From The Waters

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JMW Turner has gone down in history as one of the most innovative landscape painters of the 19th century. But now a blockbuster exhibition is to shed new light on a lesser known side of Turner: his obsession to prove he was just as good, if not better, than the old masters whose virtuosity he so admired.

For the first time Tate Britain is to display some of Turner's masterpieces alongside the 16th and 17th-century canvases he was trying to emulate.
Turner And The Masters, which opens next autumn, will bring together 100 works of historical significance from collections around the world that will look at Turner's work in the company of the greatest painters in art history and reveal his debt to them. Turner was first invited to exhibit his work at the Royal Academy at the tender age of 22. When he unveiled Moonlight, A Study At Millbank, in 1797, an evocative portrait of the moon above London which showed his ability to paint reflective light, few art historians could fail to see its remarkable resemblance to the campfire scene in Landscape With The Rest On The Flight Into Egypt, by Rembrandt, who was the hitherto unparalleled master of painting light and reflection.
So began Turner's lifelong mission to imitate, rival and surpass the styles of old masters such as Rubens, Rembrandt, Claude Lorrain and Poussin as well as contemporaries such as Constable.
Stephen Deuchar, director of Tate Britain, said there were many instances in which Turner sought to outdo his historical rivals. In his attempt to emulate Rembrandt's use of paint in drawing light, Mr Deuchar said he was saying to his audience: "I don't only understand how Rembrandt achieved his affect but I can do the same and in fact, I can do better".
Among them was a bucolic scene painted in 1815 called Crossing the Brook, which was uncannily reminiscent of the 17th-century landscape painter, Claude Lorrain's Moses Saved from the Waters.
"This is probably the most dramatic in terms of how much the Turner really does look like the Claude. It can been seen in the way he chose to paint the horizon at exactly the same point, the trees and the foreground figures receding into the middle distance. It is an obvious reworking of Claude Lorrain's work for the 19th-century British public," he said.
The unveiling of the Turner exhibition came as Nicholas Serota, director of the Tate Galleries, announced next year's programme for the four Tate galleries in London, Liverpool and St Ives. He also revealed that 2007 was a record year for acquisitions to the Tate's collection, with 494 works, valued at £63m, acquired over 12 months, including works presented by Damien Hirst, Louise Bourgeois and David Hockney, as well as Stanley Spencer's painting, The Wool Shop, among others.