埃德加·德加的内容简介

这种静是暂时的,是动的暂停,马上就会转入下一个节奏。我们说德加的素描是生动的,人物是具有活的生命力的,一是因为德加把握人物动态的能力,他总是捕捉那些最生动的瞬问,仿佛一挥手、一提腿,舞女们便会旋转起来;二是德加娴熟地运用光影的艺术技巧,这种光影在画面上似乎扰局是在晃动着的,人物的动感与艺术形式达到了完美的结合,人物真正动了起来。在德加的画中,光线并不是自然光线的模拟,而是根据画面的需要而铺设没李盯的,有些是物体的受光面,有些是光线的反射,有些是物体固有色的亮色,即便是受光面,也不一定是从一个方向照射,而是根据物体表现的需要,散光式的照射。这些不同光源的光的使用,使画面充满着光斑的效果,再加上德加在加这些光斑时,光的边缘部分都是模糊不定的,没有明显的界线,这就使人物的外形具有了不确定性,有如人物在运动之中的效果,所以,我们看上去,其人物的动感就更加强烈了。
在印象派艺术大师中,对各种艺术媒介材料运用最广泛,技法掌握最全面的艺术家自然非德加莫属。他不但在素描、版画和布面油彩等绘画方面成就突出,在雕塑创作上也成绩斐然,留下许多令人兴奋的舞蹈演枯和员等作品。在德加丰富的艺术作品中,有关芭蕾舞演员和浴女的色粉画格外耀眼。舞蹈者或台下刻苦练功、或台下翩翩起舞;浴女们或宽衣沐浴、或浴后擦身梳头。德加从不同场景、角度如连续拍摄的照片式的反复表现同一主题,呈现出舞蹈演员不同场景的艺术形象和女性裸体沐浴过程中身体动作的不同变化。本书收录其完整的代表作300余幅,在国内首次展示其鲜为少见的绘画作品百余幅,其中更包括了国内从未发表的素描作品100余幅,以及油画作品的创作稿、草稿,是一本目前世界上评价德加的最具权威性、完整性、代表性的著作。

埃德加德加英

Hilaire Germain Edgar Degas was a French painter and sculptor whose innovative composition, skillful drawing, and perceptive analys湖封令待品谓is of movement made him one of the mas来自ters of modern art in the late 19th century.

Degas is usually classed with the impressionists, and he exhibited with them in seven of the eight impressionist exhibitions. However, his training in classical drafting and his disl怀南整ike of painting directly from nature produced a style that represented a related alternative to impressionism.

Degas was born into a well-to-do banking family on July 19, 1834, in Paris. He studied at the École des Beaux-Arts under a disciple of the famous French classicist J. A. D. Ingres, where Degas developed the great drawing ability that was to be a salient characteristic of his art. After 1865, under the influe360问答nce of the budding 斤浓夜那impressionist movement, he gave up acade训损入顶完该电修mic subjects to turn to contemporary themes. But, unlike the impressionists, he preferred to work in the studio and was uninterested in the study of natural light that fascinated them. H林象构吸板每意季汉剧e was attracted by theatrical subjects, and most of his works depict racecourses, theaters, cafés, music halls, or boudoirs. Degas was a keen observer of humanity—particularly of women, with whom his work is preoccupie损没画存半d—and in his portraits as well as in his studies of dancers, milliners, and laundresses, he cultivated a complete objectivity, attempting to catch his subjects in poses as natural and spontaneous as those recorded in action photographs.

His s鲜脸tudy of Japanese prints led him to experiment with unusual visual angles and asymmetrical compositions. His subjec动技宜则待ts often appear cropped at the edges, as in Ballet Rehearsal (1876, Glasgow Art Galleries and Museum). In Woman with Chrysanthemums (1865, Me激经五完项福书哥补者大tropolitan Museu右术效马蛋字长头协m of Art, New York City), the female subject of the 限picture is pushed into a corner of the canvas by the large 沿甚于帮斯造益军central bouquet of flowers.

In the 1880s, when his eyesight began t写决路伤轻着施o fail, Degas b乙投院掉真奏来才班赵egan increasingly to work in two new media that did not require intense visual acui代带万马免线般甲ty: sculpture and pastel. In his sculpture, as in his paintings, he attempted to catch the action of the moment, and his ballet dancers and female nudes are depicted in poses that make no attempt to conceal their subjects' physical exertions. His pastels are usually simple compositions containing only a few figures. He was obliged to depend on vibrant colors and meaningful gestures rather than on precise lines and careful detailing, but, in spite of such limitations, these works are eloquent and expressive and have a simple grandeur unsurpassed by any of his other works.

Degas was not well known to the public, and his true artistic stature did not become evident until after his death. He died in Paris on September 27, 1917.

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