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ウィリアム・アチェフ

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When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People."
When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People." When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People." When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People." When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People." When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People." When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People." When William Acheff painted his first centuries-old Pueblo pot shortly after arriving in Taos in 1973, he realized he could evoke the deep quiet he imagined earlier artists felt working in their time. Though the artist has no direct link to the Southwestern and Plains tribes whose artifacts he has collected and painted, he seeks to extend an appreciation for Native American traditions, human qualities of continuity, and a slower pace of life as well as what he calls, "the subtle relationships that are common to us all." Archeff was born in 1947 in Anchorage, Alaska, of Georgian, Russian, Scottish, Dutch, and Alaskan-Athabascan heritage. Classically trained in San Francisco, he continues to paint in this widely recognized, distinctive way, often blending artifacts and traditions of the past with contemporary items and settings. <br><br>The bowl depicted in the present example is from San Juan, a pueblo rich in a tradition of creating pottery vessels for functional use. Though the early elegant shapes and beautiful curves ended by the 1900s, they were revived in the 1930s and 1940s when local women studied ancient pottery from the area as a basis for a bowl such as the one depicted here. Rather than "San Juan," the native people prefer the traditional name Ohkay Owingeh which means "Place of the Strong People."
サンファンボウル19866 5/8 x 11 5/8 in.(16.83 x 29.53 cm)パネルに油彩
出所
プライベート コレクション
ウィリアム・アチェフは、1973年にタオスに到着して間もなく、何世紀も前のプエブロの壺を初めて描いたとき、以前の芸術家たちがその時代に感じていたであろう深い静寂を呼び起こすことができると悟った。彼が収集し、描いてきた南西部や平原の部族との直接的なつながりはないものの、彼はネイティブ・アメリカンの伝統、継続性という人間の特質、ゆったりとした生活のペース、そして彼が言うところの "私たちすべてに共通する微妙な関係性 "への感謝の念を広げようとしている。アーシェフは1947年、ジョージア、ロシア、スコットランド、オランダ、アラスカ・アタバスカンの血を引いてアラスカ州アンカレッジに生まれた。サンフランシスコで古典的な訓練を受けた彼は、広く知られた独特の手法で絵を描き続け、しばしば過去の工芸品や伝統と現代のアイテムや設定を融合させる。

今回の作品に描かれているボウルは、機能的な陶器の器を作る伝統に富んだプエブロ、サンフアンのものである。初期の優美な形と美しい曲線は1900年代までに終わりを告げたが、1930年代から1940年代にかけて、地元の女性たちがこの地域の古代の陶器を研究し、ここに描かれているようなボウルの基礎として復活させた。先住民は「サンファン」ではなく、「強い人々の場所」を意味する伝統的な名前「オウケイ・オウインゲ」を好んで使う。
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