美洲具象艺术大师

The first gallery represents some of the largest names of Latin American art including Diego Rivera, Rufino Tamayo, and Wifredo Lam. These artists, like many in Latin America, looked beyond representation to create art that spoke to their cultural identity and politics. As Rivera notes, “The secret of my best work is that it is Mexican.” Rivera, Tamayo, and Lam synthesized the modernism emerging in the early to mid-20^th century with pre-Colombian culture and art style. For Rivera and Tamayo they turned Mexican folk art while Lam incorporated Afro-Cuban mysticism.

Other artists in this section include Roberto Matta, Francisco Toldeo, Felipe Castañeda, Carlos Luna, and Mario Carreño. It is important to note that while all of these artists were pushing the boundaries of representational art, running concurrently were the Neo-Concrete artists like Hélio Oiticica who, like their figurative counterparts, expressed political views through their art but through abstraction. This push and pull between figuration and abstraction will be seen throughout each gallery.

20世纪中期的美国艺术通常以抽象表现主义为标志,但如果将抽象表现主义运动视为纯粹的抽象,就会抹去具象的重要性。展览中包括一幅来自Willem de Kooning著名的女人系列的画作。具象一直在他的创作过程中扮演着重要角色,通过这个系列,de Kooning能够将抽象表现主义的原则和技法与具象的心理和美学特质融合在一起。

即使是像Alexander Calder这样几乎完全与纯粹抽象联系在一起的艺术家,具象也从未真正被放弃。

然而,随着抽象表现主义成为主导趋势,艺术家们开始质疑其前提,并转向具象以理解和拓展绘画和绘画的可能性。一个重要的中心是湾区具象艺术运动,其成员包括Paul Wonner和Manuel Neri。即使是其所在的旧金山及周边湾区的位置,也挑战了纽约和抽象艺术的主导地位,更不用说旧金山本身就有其独特的抽象艺术流派。