2017年9月28日 星期四

The Self-PortraitA Cultural History By James Hall 自畫像文化史

 The Self-PortraitA Cultural History  By James Hall 自畫像文化史


176 Thames & Hudson and the Phaidon Press 漢清講堂 2017-06-29
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漢清講堂2017-06-29 Thames & Hudson and the Phaidon Press 兩家出版社簡介Phaidon was founded in Vienna in 1923 as a ...

The Self-PortraitA Cultural History
James Hall

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Format: Hardcover
Pages: 288
Artwork: 120 illustrations in color and black and white
Size: 6.4 in x 9.3 in x 1.3 in
Published: April 22nd, 2014
ISBN-10: 050023910X
ISBN-13: 9780500239100
Genre: Art
E-book Available: Yes

This broad cultural history of self-portraiture brilliantly maps the history of the genre, from the earliest myths of Narcissus and the Christian tradition of “bearing witness” to the prolific self-image-making of today’s contemporary artists.

Focusing on a perennially popular subject, the book tells the vivid history of works that offer insights into artists’ personal, psychological, and creative worlds. Topics include the importance of the medieval mirror craze in early self-portraiture; the confessional self-portraits of Titian and Michelangelo; the mystique of the artist’s studio, from Vermeer to Velázquez; the role of biography and geography for serial self-portraitists such as Courbet and Van Gogh; the multiple selves of modern and contemporary artists such as Cahun and Sherman; and recent developments in the era of globalization.

Comprehensive and beautifully illustrated, the book features the work of a wide range of artists including Beckmann, Caravaggio, Dürer, Gentileschi, Ghiberti, Giotto, Goya, Kahlo, Kauffman, Magritte, Mantegna, Picasso, Poussin, Raphael, Rembrandt and Van Eyck. The full range of the subject is explored, including comic and caricature self-portraits, “invented” or imaginary self-portraits, and important collections of self-portraiture such as that of the Medici.


The Self-Portrait: a Cultural History by James Hall, review

The self-portrait invites the viewer to meet the gaze of its creator, making it the most compelling of all artistic genres

4 out of 5 stars
Every artist of every style and period has had a crack at a self-portrait at one time or another. For the artist the interest of the self-as-subject is often expedient: a model they don’t have to pay; a convenient alternative to yet another arrangement of crockery or flowers.
But for the viewer, the self-portrait opens up a potent range of possibilities: the artist is seen looking into the soul of the person they know best (one would hope), who they care about most (inevitably) and with whom they have the most perplexing relationship – themselves. Meeting their gaze, we take on their position, seated in their chair or standing at their easel; viewer becomes artist in an exchange of roles that makes this perhaps the most compelling of all artistic genres.
You’d be forgiven for thinking the self-portrait is essentially a historical phenomenon, but James Hall begins his lively cultural history with the challenging assertion that “self-portraiture has become the defining visual genre of our confessional age: the sheer volume of contemporary self-portraits defies enumeration”.
This might seem improbable, until you realise that Hall is including conceptual art in his remit – pieces such as Tracey Emin’s self-obsessed Everyone I Have Ever Slept With, a small tent with the names of her lovers appliqued onto the inside. His aim is to define the self-portrait as broadly as possible, starting in the early Middle Ages – several centuries before the “invention” of self-portraiture, generally agreed to have been around 1400 – and ending in our own time, when representational painting and sculpture have become niche activities; but the idea that the artist is their art is all-pervading.
The notion of the artist constructing themselves as a character in their own work may sound like an arch postmodern conceit, but from the late 15th century artists were manipulating their self-images, making themselves appear older or younger to suit their purposes, taking on fictional and biblical roles to heighten their brand profiles. Andrea Mantegna, the “richest and most famous artist of the time”, portrayed himself as a grim-faced Roman in his memorial bust, “his tumescent bulldog features” conveying a “visceral machismo”. Comparing himself in the accompanying inscription to Apelles, court artist of Alexander the Great, he brought the reflected glory of the Greek conqueror on himself and his patrons, the Gonzagas.
Albrecht Dürer, the first great career self-portraitist and a shameless narcissist and megalomaniac, painted himself with flowing crinkly locks in an unforgettable image that is generally considered “Christlike”, though as Hall waspishly points out, his personal grooming is far from humble: “his permed hair, plucked eyebrows, waxed handlebar moustache and trimmed beard are a tour de force of the barber’s art.”
This being a “cultural history”, these great painters take their places in a stream of personalities, many of them minor by conventional standards, such as Thomas Patch, an English landscape painter who portrayed himself as an ox, or the 16th-century proto-surrealist Giovanni Paolo Lomazzo. Literary, philosophical and social context becomes as important to Hall as the intentions of the artist, leading to intriguing insights and off-the-wall facts. Van Gogh’s paintings of the chairs he and Gauguin used are, Hall claims, surrogate portraits, informed by Renaissance ideas of dexter and sinister; Gauguin’s stoneware jug in the form of his own severed head alludes both to Vincent’s sliced-off ear and his witnessing of the guillotining of a “glamorous” multiple murderer named Prado who claimed to be the illegitimate son of Napoleon III.
Jeff Koons’s contention that “My art and my life are totally one” might almost have come from the lips of Gauguin. Koons’s Jeff and Ilona (Made in Heaven), a grotesquely kitsch, life-size, polychrome wood tableau of himself and his porn-star wife La Cicciolina in sexual congress, appears in this context as a kind of postmodern updating of Gauguin’s jug. Indeed, among many “subconscious, disguised and surrogate” contemporary self-portraits, Hall finds surprisingly direct examples of the form from the likes of Andy Warhol, Cindy Sherman and Gilbert & George. In the Japanese artist Tatsumi Orimoto’s touching photographic self-portraits with his elderly mother, Hall finds echoes of Dürer, whose paintings of himself and his elderly mother were exhibited side by side.
Hall’s range of references is polymathic and his writing often pithy, but the democratically even tone – in which geniuses and nonentities are accorded the same level of interest – can feel monotonous. The book gives a good account of the role of the self-portrait in the elevation of the artist from craftsman to cultural hero. Yet Hall is so keen to avoid aggrandising the better known figures that you’re left yearning for a contrast between what’s of historical interest and what’s genuinely extraordinary. Occasionally you wish he’d let his dispassionate scholarly mask drop and scream out, “This is a freaking masterpiece!”

此書翻譯,有些不過明確處。譬如說,134-35 頁談
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi

奧拉濟奧 (hc案:Orazio,Artemisia Gentileschi的父親) 是英格蘭女王亨里埃塔 (Henrietta)宮廷的畫家.....







詹姆斯.霍爾(James Hall)是一位藝術史學家、演講家和播音員。他還是南安普敦大學的客座研究員。他在倫敦考陶爾德藝術學院取得碩士學位,在劍 橋大學取得博士學位。他曾擔任《周臼通訊》和《衛報》的首席評論員,並在許多出版物上發表過作品,包括《衛報》、《華爾街日報》和《藝術報》。霍爾還出版 了包括《世界如雕塑:從文藝復興到現在雕塑地位的改變》和《陰暗面:左右象征主義是怎樣定義西方藝術的》等在內的四本廣受好評的書。



2017年9月26日 星期二

歡迎來到「草間世界」 首座個人美術館十月開幕Yayoi Kusama, Queen of Polka Dots, Opens Museum in Tokyo

Ms. Kusama at work in her studio on Tuesday.
Yayoi Kusama, Queen of Polka Dots, Opens Museum in Tokyo


"Since I was 10 years old I have been painting every day," she said in an interview. "I still see polka dots everywhere."

【Art News|東京藝術快訊】



收到放屁凳 總統又驚又喜
2017/05/15 18:32








校長藍振芳表示,總統在公務繁忙間特別約見公東的學生,對全校師生都是正向的鼓勵。學生將公東傳統的技職精神呈現給總統,感謝木藝中心主任張家瑞的設計讓標榜簡約的公東椅帶有濃厚的藝術風。 (中央社)

street artists:Jean-Michel Basquiat

As a major exhibition of his work opens in London, young black artists celebrate Jean-Michel Basquiat's impact on art. (BBC News)
Young black artists celebrate Jean-Michel Basquiat's impact on art.
Jean-Michel Basquiat
Jean-Michel Basquiat
BornDecember 22, 1960
BrooklynNew York, U.S.
DiedAugust 12, 1988 (aged 27)
Manhattan, New York, U.S.

尚·米榭·巴斯奇亞Jean-Michel Basquiat,1960年12月22日-1988年8月12日),是一位美國藝術家。他先是以紐約塗鴉藝術家的身分獲得大眾認識,後來成為一位成功的1980年代表現主義藝術家。巴斯奇亞的作品至今仍深深影響著當代的藝術家,而且價值不斐。


1960年,巴斯奇亞出生於紐約布魯克林區。他的母親瑪蒂兒是波多黎各人,父親傑拉德·巴斯奇亞則是海地人,並曾擔任海地的內政部長。巴斯奇亞也因此說了一口流利的法語西班牙語英語,並偶爾閱讀象徵詩神話歷史與醫療文書,特別是各種語言的《格雷氏解剖學》。幼年時,巴斯奇亞即表現了對藝術的天份,並在母親的鼓勵下學習作畫、參加美術相關的活動。1977年,十七歲的巴斯奇亞和他的朋友埃爾·狄亞茲開始到下曼哈頓區貧民窟塗鴉藝術,在當地的建築物上噴上彆腳的簽名「SAMO」,和一些簡潔的句子,像是「『SAMO』是條免責條款」等等。1978年12月,Village Voice週報登了一篇關於這些文字的報導。後來,巴斯奇亞在蘇活區建築物的牆上寫上「SAMO IS DEAD」,結束了關於SAMO的計畫。27歲時因服用過量海洛因於工作室中過世。


    He used to be a graffiti rebel who sold drawings for $50, now he's in the same league as Picasso.

    From the archive, a selection of paintings by Jean-Michel Basquiat.

    The Paris Review is a literary magazine featuring original writing, art, and in-depth interviews with famous writers.

    2017年9月24日 星期日

    Sketches of Taipei from the early 1960s by American architect Felix Tardio

    by Felix Tardio

    Felix was born on October 10, 1934 and passed away on Monday, July 4, 2011.
    Felix was a resident of Canonsburg, Pennsylvania.

    Felix Tardio, a professor of architecture living in Taipei during the late 1960s, wrote a scathing critique of its built environment. With both prejudice and insight, ...

    Hanching Chung Felix Tardio 當年可能複印一些"書",送給各大圖書館。我在政治大學的公企中心的圖書館看過。請問羅斌,您在哪兒取得的。

    羅斌新增了 16 張相片
    Sketches of Taipei from the early 1960s by American architect Felix Tardio.
    1960年代初,美國建築師台地先生(Felix Tardio)的台北素描.