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<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

迪戈·里韦拉

根据布兰迪温河艺术博物馆编制的目录，《清教徒鳕鱼》的初稿是 N. C. 怀斯在 1945 年 10 月去世前完成的。该条目记录了草图的图像、艺术家的题词及其标题《Puritan Cod Fishers》，目录将其描述为 "备用"。无论是哪种情况，这幅大型画布都是一件独一无二的作品，安德鲁-怀斯后来回忆说，这幅画完全是由他亲手绘制的，是父亲的设计和构图与出色的儿子的执行合作的成果。对安德鲁来说，这一定是一次感触颇深的情感体验。鉴于父亲对细节和真实性的关注，这艘小帆船的线条代表了十六世纪使用的藠头。另一方面，安德鲁很可能比他父亲更深地描绘了躁动不安的大海的色调，这一选择恰如其分地突出了任务的危险性。

Andrew Wyeth & N. C. Wyeth

N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.

北卡罗来纳州

威廉-德-库宁--《划船的女人》--纸上油画，铺在石膏板上--47 1/2 x 36 1/4英寸。

威廉·德库宁

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

阿尔弗雷德·西斯利

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

EMIL NOLDE

19世纪70年代初，温斯洛-霍默经常在位于纽约州哈德逊河和卡茨基尔山之间的一个小农庄附近绘制乡村生活场景，该小农庄因其出色的麦田而世代闻名。今天，赫尔利因激发了荷马最伟大的作品之一--1872年夏天绘制的《鞭子的Snap》而更为著名。在其他许多受该地区启发的画作中，《站在麦田里的女孩》感情丰富，但没有过度感伤。它与1866年在法国画的一幅题为《在麦田里》的研究报告以及次年他回到美国后画的另一幅报告直接相关。但荷马无疑会对这幅作品感到最自豪。这是一幅肖像画，一幅服装研究画，一幅具有欧洲田园画伟大传统的风俗画，也是一幅戏剧性的逆光、大气的巡回画，浸透在迅速消逝的阴暗时刻的光线中，并带有羊脂玉般的花香和麦穗的点缀。1874年，荷马送了四幅画给国家设计学院的展览。其中一幅名为 "女孩"。难道不是这一幅吗？

温斯洛荷马

Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show, "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York. <br><br>"Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier. <br><br>Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.

格哈德·里希特

马克-夏加尔的世界不能被我们附加在它身上的标签所包含或限制。它是一个由图像和意义组成的世界，形成了自己绚丽的神秘话语。Les Mariés sous le baldaquin（《天幕下的新郎和新娘》）是在艺术家进入90岁时开始的，这个人经历了悲剧和争斗，但他从未忘记生命中的狂欢时刻。在这里，一个俄罗斯乡村婚礼的梦幻般的乐趣，以及其安排好的与会者，以如此快乐的机智和欢快的纯真带给我们，让人无法抗拒其魅力。使用油彩和不透明的水性水粉相结合的金色调乳剂，夏加尔一贯的积极主义的温暖、幸福和乐观被包裹在发光的光芒中，暗示着金箔宗教圣像或文艺复兴早期绘画的影响，试图传递神圣的光或精神启蒙的印象。使用油画和水粉画的组合可能是一种挑战。但在这里，在《Les Mariés sous le baldaquin》中，夏加尔用它来赋予这个场景一种超凡脱俗的品质，几乎就像它刚刚从他的脑海中显现出来。它的纹理细腻，给人的印象是光是从作品本身发出来的，并给漂浮在空中的人物带来一种幽灵般的品质。

马克·查加尔

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

塞恩·斯卡利

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

托姆·韦塞尔曼

Théo van Rysselberghe的《Sylvie Lacombe肖像》画于1906年，是他那个时代最精致、最稳定的肖像画家之一的经典杰作。色彩和谐，笔触有力，适合其材料任务，她的身体和面容真实而露骨。坐着的人是他的好朋友，画家乔治-拉孔布的女儿，他与高更有着密切的联系，并且是Les Nabis的成员，与艺术家博纳尔、丹尼斯和维雅等人一起。我们现在知道了Sylvie Lacombe，因为Van Rysselberghe非常擅长渲染微妙的面部表情，通过仔细观察和关注细节，提供了对她内心世界的见解。他选择了一种直接的凝视，她的眼睛对着你的眼睛，无论我们与画作的物理关系如何，主体和观众之间都有一种不可避免的盟约。在画这幅肖像时，范-赖斯伯格已经基本放弃了点彩画法。但他继续运用色彩理论准则，用红色的色调--粉色和淡紫色--来衬托绿色，创造出一个和谐的互补色调，他在其中加入了一个强烈的点睛之笔--一个强烈饱和的红色蝴蝶结，不对称地放在她的头边。

泰奥-范-雷塞尔贝格