Henri Rousseau (French, 1844–1910)現代藝術的無名教父。自學成才的畫家因其笨拙的構圖和生硬的透視而飽受嘲諷——但如果他接受過正規訓練，我們今天所知的現代藝術或許根本不會出現。 這幅名為《驚訝！ 》的畫作是亨利·盧梭最著名的叢林主題作品之一。他聲稱自己在墨西哥擔任軍樂隊成員期間積累了叢林知識，但這似乎只是虛構，他的畫作很可能受到了巴黎植物園之旅和版畫的啟發：

Henri Rousseau  (French, 1844–1910)現代藝術的無名教父。自學成才的畫家因其笨拙的構圖和生硬的透視而飽受嘲諷——但如果他接受過正規訓練，我們今天所知的現代藝術或許根本不會出現。 這幅名為《驚訝！ 》的畫作是亨利·盧梭最著名的叢林主題作品之一。他聲稱自己在墨西哥擔任軍樂隊成員期間積累了叢林知識，但這似乎只是虛構，他的畫作很可能受到了巴黎植物園之旅和版畫的啟發：

Henri Rousseau, “Carnival Evening,” 1886, at the Barnes Foundation in Philadelphia.Credit...via Philadelphia Art Museum

Henri Rousseau, “War,” circa 1894.Credit...via GrandPalaisRmn, musée d’Orsay, Paris; Photo by Patrice Schmidt

There is some Eugène Delacroix in the big, bloody allegory “War” (circa 1894) on loan from the d’Orsay. But this just-right show at the Barnes prefers to face you with the singular, humid beauty of the paintings alone. They reveal a painter for whom white lies and artistic license were the same, much like a child who disregards the laws of truth not to cause trouble but to stay honest to his inner life.

教學會扼殺天才嗎？

現代藝術的無名教父

自學成才的畫家亨利·盧梭（Henri Rousseau）因其笨拙的構圖和生硬的透視而飽受嘲諷——但如果他接受過正規訓練，我們今天所知的現代藝術或許根本不會出現。

BBC.COM|阿拉斯泰爾·蘇克（ALASTAIR SOOKE）

紐約大都會藝術博物館

你知道今天是國家野生動物日嗎？今年的國家野生動物日特別紀念塞西爾獅。瀏覽館藏的獅子畫像：http://met.org/1JBLRgR

亨利·盧梭（海關官員）（法國，1844–1910）| 獅子的盛宴 | 約1907

所羅門·R·古根漢美術館

法國畫家亨利·盧梭於1844年的今天出生。了解更多關於他筆下對現代社會的獨特描繪，例如他創作於約1893-1895年的畫作《砲兵》，該畫作目前正在我們的永久館藏展廳展出：http://gu.gg/NeUPp

國家美術館

National Gallery
5月21日 17:49 ·


Henri Rousseau was born #OnThisDay in 1844. Did you know he first worked as an inspector at a toll station on the outskirts of Paris? He took seriously to painting after retirement and exhibited from 1886 at the Salon des Indépendants. 'Surprised!' takes us into a dense, tropical jungle, where a tiger is hunting explorers in a storm, which only adds to the drama and movement of this painting. Explore the jungle in Room 43 and be prepared! http://bit.ly/2rzFdqK


MoMA The Museum of Modern Art

Although Henri Rousseau completed more than 25 jungle paintings, he never traveled outside of France. He drew instead on images of the jungle as it was presented through popular literature, colonial expositions, and the Paris Zoo. Rousseau's "The Dream" (1910) is #onview in our 5th floor galleries.
Discover more wild and whimsical animals currently on view at mo.ma/artsafari #MoMACollection
Happy weekend!


Henri Rousseau - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Henri_Rousseau

Henri Julien Félix Rousseau (French: [ɑ̃ʁi ʒyljɛ̃ feliks ʁuso]; May 21, 1844 – September 2, 1910) was a French Post-Impressionist painter in the Naïve or ...

[Valentine] Paul Eluard once said of Rousseau that "he saw was nothing but love and we will always make very eyes."

Be enchanted by his work "The painter and his model".



[Saint Valentin] Paul Éluard a dit un jour du Douanier Rousseau que "ce qu'il voyait n'était qu'amour et nous fera toujours des yeux émerveillés."


Laissez-vous enchanter par son œuvre "Le peintre et son modèle".


https://www.centrepompidou.fr/id/cR5LeXn/rArM8n/fr


Le Douanier Rousseau

Le peintre et son modèle

Huile sur toile

46,5 x 55,5 cm

© Service de la documentation photographique du MNAM - Centre Pompidou, MNAM-CCI /Dist. RMN-GP

© domaine public




Does teaching kill off genius?

The untrained godfather of modern art


The self-taught painter Henri Rousseau was mocked for his clumsy compositions and awkward perspectives – but if he had been trained, modern art as we know it might never have happened.
BBC.COM|由 ALASTAIR SOOKE 上傳




The Metropolitan Museum of Art, New York

Did you know it’s National Wildlife Day? This year, National Wildlife Day is specifically honoring the memory of Cecil the Lion. View depictions of lions in the collection: http://met.org/1JBLRgR

Henri Rousseau (le Douanier) (French, 1844–1910) | The Repast of the Lion | ca. 1907



Solomon R. Guggenheim Museum

French painter Henri Rousseau was born this day in 1844. Learn more about his quirky depiction of modern times, as portrayed in "Artillerymen" ca. 1893–95, on view now in our permanent collection galleries: http://gu.gg/NeUPp


National Gallery



This painting 'Suprised!' is the first of the jungle scenes Henri Rousseau is best known for. He claimed he gained knowledge of the jungle while serving as a regimental bandsman in Mexico, but this seems to be a fiction and his paintings were probably inspired by visits to the botanical gardens in Paris and by prints: http://bit.ly/1GQ0YlZ

Beatriz González 1932~2025《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

 Beatriz González 1932~2025《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

Beatriz González
Gonzalez in 2015

“I don’t want to be Botero or only a lady who paints,” Beatriz González said in the early 1960s, a statement she would later revisit. It captures the path forged by the Colombian artist, writer, curator, educator and intellectual—known as la maestra—who died in Bogotá on January 9 at age 93.

「我不想成為博特羅，也不想只是做一個畫畫的女人，」貝婭特麗絲·岡薩雷斯在20世紀60年代初說道，這句話她後來也再次提及。這句話概括了這位哥倫比亞藝術家、作家、策展人、教育家和知識分子——被譽為「女大師」——的人生軌跡。她於1月9日在波哥大逝世，享年93歲。 岡薩雷斯於1932年出生於桑坦德省首府布卡拉曼加，在哥倫比亞動盪的時代背景下成長。當時，抽象藝術或她同時代的費爾南多·博特羅的獨特風格等其他藝術形式盛行。她成為20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

Born in 1932 in Bucaramanga, the capital of the department of Santander, González came of age in a turbulent context in Colombia, when other forms of expression, such as abstraction or the distinctive style of her contemporary Fernando Botero, reigned. She became one of the most important Latin American artists of the 20th century, influencing the direction of post-war painting and helping to shape Colombia’s museums as a curator, educator and mentor.

https://www.theartnewspaper.com/....../beatriz......

Yet her work is dynamic enough to suggest many things and offers intriguing, if oblique, points of comparison with certain of her New York contemporaries. Her work has, for instance, parallels with that of Andy Warhol. Both artists deal with similar popular material, from tabloid disasters to Last Suppers. Both embody their images in low-art forms (Warhol in industrial silk screen, Ms. Gonzalez on inexpensive furniture). Both disguise an art of passionately alert social observation, behind a facade of studied neutrality.

Warhol, of course, was a key player in the international mainstream market. Ms. Gonzalez is not. She has chosen to forge an artistic universe from her home turf, and it is one of remarkable richness and depth. It is no surprise to learn that when a catalogue of her collected work was being prepared in Colombia in 1984, she insisted the book be titled ''Beatriz Gonzalez: Provincial Artist.'' Like many of her colleagues across the world in the multicultural 90's, she has turned a ''peripheral'' status into a badge of pride.

''Beatriz Gonzalez: What an Honor to Be With You at This Historic Moment, Works 1965-1997'' 

她的作品充滿活力，蘊含著豐富的內涵，並與一些紐約同時代藝術家形成了耐人尋味卻又略顯隱晦的比較。例如，她的作品與安迪沃荷的作品有著許多相似之處。兩位藝術家都關注類似的流行題材，從八卦醜聞到最後的晚餐。他們都將圖像融入低俗藝術形式（沃荷運用工業絲網印刷，岡薩雷斯則運用廉價家具）。他們都以刻意營造的中立表象掩蓋了對社會敏銳而充滿激情的觀察。 當然，沃荷是國際主流藝術市場的重要人物。岡薩雷斯則不然。她選擇在自己的家鄉打造一個藝術世界，而這個世界卻無比豐富而深刻。毫不奇怪，1984年哥倫比亞編纂她的作品集時，她堅持將書名定為《貝婭特麗絲·岡薩雷斯：地方藝術家》。如同同世紀90年代多元文化背景下世界各地的許多同行一樣，她將「邊緣」地位轉化為一種驕傲的象徵。 《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》