2017年9月17日 星期日

Frans Masereel 1889-1972:The First Woodcut Novelist

羅曼·羅蘭原著《約翰·克利斯朵夫》(傅雷譯)是我初二讀的第一本大河小說。約45年過去,看到《約翰·克利斯朵夫》(濃縮本),梁祥美譯,台北:志文,2004(49幅由 F. 馬塞瑞爾畫的插圖)。
我認識這位木刻名家,去大搜索,發現原插畫竟然有666幅呢。
有些印1500張..... 我希望有機會找到這附666張木刻的版本!



The Metropolitan Museum of Art, New York

A librarian in Watson Library highlights one of her favorite artists: Frans Masereel, a Belgian graphic artist who is considered by some to be the creator of the woodcut novel.






Frans Masereel: The First Woodcut Novelist


Associate Museum Librarian Tamara Fultz discusses the gorgeous woodcuts of Frans Masereel


METMUSEUM.ORG

Frans Masereel: The First Woodcut Novelist
August 23, 2017


Tamara Fultz, Associate Museum Librarian, Thomas J. Watson Library





Frans Masereel, Landschaften und Stimmungen: 60 Holzschnitte (Munich: K. Wolff, 1929).


What defines our attraction to a particular artist? Education and experience can offer us opportunities to see an artist's work, but whether we like or truly appreciate it is dependent on individuality and personal taste. In my own work, I get to see a wide variety of art in books—from ancient to contemporary—and there are always some artists that I prefer over others. This post is a reflection on one of my favorites: Frans Masereel (1889–1972).


Masereel, a Belgian graphic artist, is considered by some to be the creator of the woodcut novel. There is a certain warmth and linear clarity to woodcuts that I find appealing: everything from the woodcuts of Albrecht Dürer (1471–1528) to the woodblock prints of Japanese artists in the ukiyo-e style. Masereel's woodcut novels fascinate me because in each one he creates a narrative using strictly images, no text—although there may be an introduction by Thomas Mann or some other great contemporary. For a modern-day equivalent to this kind of work, you might be familiar with the graphic novelist Eric Drooker, whose artwork in Flood! was heavily influenced by the novels of Masereel.


Thomas J. Watson Library has a number of Masereel's woodcut novels. Below are some images that I will let speak for themselves, just as Masereel would have done.





Frans Masereel, Landschaften und Stimmungen: 60 Holzschnitte (Munich: K. Wolff, 1929).





Frans Masereel, La Sirène: Vingt-Huit Bois Gravés (Paris: P. Verms [Coulouma], 1932).





Frans Masereel and Thomas Mann, Jeunesse (Zurich: Oprecht, 1948).





Frans Masereel and Thomas Mann, Jeunesse (Zurich: Oprecht, 1948).


Department: Thomas J. Watson Library



布蘭肯貝赫,比利時,1889年 - 法國阿維尼翁,1972年



圖形藝術家,木雕刻師,插畫



工作為報紙和雜誌的插畫,Masereel在1917年遇到了茨威格在瑞士時,他被連同來自歐洲各地的知識分子爭取和平。



“一個堅實的,甜的身影,眼鏡後面的一個嚴重的樣子,像維爾哈倫,只穿著厚衣服燈芯絨,在勞動者的風采。吸引我的是他從第一分鐘......“”奇妙,我特別喜歡他的認真的態度,他聽的方式。沒想到從別人這麼多......“”......安慰[在這些艱難的日子]:那麼清澈,純淨,這樣很好。我知道有我周圍的幾個人,我的愛。他只是善良,能源,最精彩的結合。“



儘管他的堅硬,粗糙的外觀,Masereel是出現在日記中最可愛的人物。他在信Friderike他沒有掩飾他對這場轟轟烈烈的藝術家的感情,滿腦子善良。



Masereel由威爾·艾斯納和藝術斯皮格曼口徑的藝術家們認為通過他的大集合“中篇無字”,和平主義十字軍東征過程中產生的發明了圖形小說。該集團圍繞兩個報紙,德棉,由善變Guilbeaux(共產黨員誰轉化為反共)和La弗耶,其中Masereel發表了關於戰爭的恐怖日常木刻成立走到了一起。



中心人物是羅曼·羅蘭,誰贏得了諾貝爾文學獎於1915年出席會議的還有俄國的革命者,如列寧和托洛茨基,等待沙皇秋天,愛爾蘭人詹姆斯·喬伊斯寫的英文,但強烈的反英的精神,作曲家費魯喬布索尼等等。

羅曼·羅蘭原著《約翰·克利斯朵夫》(傅雷譯)是我初二讀的第一本大河小說。約45年過去,看到《約翰·克利斯朵夫》(濃縮本),梁祥美譯,台北:志文,2004(49幅由 F. 馬塞瑞爾畫的插圖)。
我認識這位木刻名家,去大搜索,發現原插畫竟然有666幅呢。
有些幅印1500張..... 我希望有機會找到這附666張木刻的版本!

Masereel所示的紀念讓·克里斯托夫,由羅蘭,666木刻,也茨威格的中篇小說和平主​​義者強迫,利用斯特凡和Friderike的數字為型號為兩位主角。有關完整的作品在俄羅斯(1926年)的集合,他創造已被轉載數百次,這一天茨威格的忠實寫照。他還說明其他偉大的作家,如左拉和托馬斯·曼的作品。



在接下來的23年來,他們在巴黎,尼斯,奧斯坦德和薩爾茨堡非常接近,直到1940年時,茨威格離開歐洲去新大陸。甚至一度安全的在大西洋的另一邊,試圖茨威格痴迷於獲得Masereel入境簽證巴西,阿根廷,哥倫比亞和美國。一切都是徒勞:也許是因為他太痛苦和沮喪。



在德國佔領他在小城鎮藏在法國鄉村。他不是猶太人,也不是共產黨,他的社會主義是從羅蘭的沒有什麼不同。他們都沒有被蓋世太保追捕。在茨威格的回憶錄,他在三個場合說過,他的散文首先收集,Begegnungen麻省理工學院Menschen,BüchernUNDStädten[遭遇的人,書籍與城市]茨威格包括一塊約Masereel。



他刻畫在他們的現代文明隔絕的人,而在同一時間提供了行動的可能性。在他的木刻作品的製作,他等系列作為一個男人的激情(1918年)的25張圖片,80工程漢堡和臉部週期的100市(1925年)。從1947年到1951年,他在藝術和工藝的薩爾布呂肯最近創辦學校領導繪畫班。在瑞士,1953年他創辦了Xylon公司 - 木材雕刻的國際協會。第二次世界大戰的結束和1968年間,他發表了一系列代表某一主題的變化版畫。他是眾多展覽的主題和藝術的幾個學院的成員。他的名字出現在機構,如法朗士·麥綏萊勒中心,在卡斯特萊,比利時和Masereelsfonds,促進它最初是關聯到比利時共產黨,這在當今具有獨立進取處置弗拉芒語實體的負責人。



地址上市:30街宮3 Faucons,阿維尼翁。


http://www.casastefanzweig.org.br/agenda_en/s18.html
Blankenberge, Belgium, 1889 — Avignon, France, 1972

Graphic artist, wood engraver, illustrator

Working as an illustrator for newspapers and magazines, Masereel met Stefan Zweig in Switzerland in 1917 when he was fighting for peace together with other intellectuals from all over Europe.

“A solid, sweet figure, a grave look behind the spectacles, like Verhaeren, only wears thick corduroy clothes, in the style of a labourer. I was attracted to him from the first minute...” “Marvellous, I especially like his serious manner and the way he listens. I never expected so much from someone...” “...A comfort [in these difficult days]: so clear, pure, so good. I’m aware that there are few people around me that I love. He is nothing but goodness, energy, the most wonderful combination.”

Notwithstanding his hard, rough appearance, Masereel was the dearest character to appeared in the diaries. In his letters to Friderike he didn’t hide his affection for this vigorous artist, brimming over with goodness.

Masereel is considered by artists of the calibre of Will Eisner and Art Spiegelman to have invented the graphic novel through his large collection of “novellas without words”, produced during the pacifist crusade. The group came together around two newspapers, Demain, founded by the mercurial Guilbeaux (a Communist who converted to anti-Communist) and La Feuille, where Masereel published daily woodcuts about the horrors of war.

The central figure was Romain Rolland, who won the Nobel Prize for Literature in 1915. Also present were Russian revolutionaries such as Lenin and Trotsky, awaiting the fall of the Czar, the Irishman James Joyce writing in English but intensely anti-British in spirit, the composer Ferruccio Busoni and many others.

Masereel illustrated the monumental Jean Christophe, by Rolland, with 666 woodcuts, and also Zweig’s pacifist novella Compulsion, using the figures of Stefan and Friderike as models for the two protagonists. For a collection of complete works in Russian (1926) he created a faithful portrait of Zweig which has been reproduced hundreds of times to this day. He also illustrated the works of other great authors, such as Émile Zola and Thomas Mann.

Over the next 23 years they were very close in Paris, Nice, Ostend and Salzburg, until 1940 when Zweig left Europe for the New World. And even once safe on the other side of the Atlantic, Zweig tried obsessively to obtain for Masereel entry visas for Brazil, Argentina, Colombia and the United States. All in vain: perhaps because he was too anguished and depressed.

During the German occupation he hid in small towns in the French countryside. He wasn’t Jewish, nor a Communist, his socialism was no different from that of Rolland. Neither of them was hounded by the Gestapo. In Zweig’s memoirs he is mentioned on three occasions and in his first collection of essays, Begegnungen mit Menschen, Büchern und Städten [Encounters with People, Books and Cities], Zweig included a piece about Masereel.

He portrayed people in their isolation in modern civilization, while at the same time offering possibilities for action. In his oeuvre of woodcuts he produced series such as 25 Images of a Man’s Passions (1918), the 80 works The Face of Hamburgand the 100 of the cycle The City (1925). From 1947 to 1951, he lead the painting classes at the recently-founded School of Arts and Crafts in Saarbrücken. In Switzerland in 1953 he founded Xylon – International Society of Wood Engravers. Between the end of the Second World War and 1968 he published a series of engravings representing variations on a particular theme. He was the subject of numerous exhibitions and a member of several academies of the arts. His name appears at the head of institutions such as the Frans Masereel Centre, in Kasterlee, Belgium, and Masereelsfonds, an entity promoting the Flemish language which was originally associated to the Belgian Communist Party and which nowadays has an independent progressive disposition.

Address listed: 30 Rue des 3 Faucons, Avignon.

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