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兔灰灰的小窝

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毕加索名画--格尔尼卡  

2012-09-08 17:46:07|  分类: 默认分类 |  标签: |举报 |字号 订阅

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http://zh.wikipedia.org/wiki/

格尔尼卡是毕加索最著名的绘画作品之一。当时西班牙内战纳粹德国弗朗西斯科·佛朗哥之邀对西班牙共和国所辖的格尔尼卡城进行了人类历史上第一次地毯式轰炸。当时毕加索受西班牙共和国政府委托为巴黎世界博览会的西班牙区绘一幅装饰性的画,从而催生了这幅伟大的立体派艺术作品。作品描绘了经受炸弹蹂躏之后的格尔尼卡城。

在二战期间,有一个好奇的德国军官走进了毕加索的公寓并发现了桌子上的《格尔尼卡》,于是就上前欣赏。但当他看到了画上那些饱受德国纳粹蹂躏的人时,这个军官生气地问毕加索:“这是你弄的?”毕加索讽刺地回答说:“不,这是你弄的。”

毕加索名画--格尔尼卡 - 兔灰灰 - 兔灰灰的小窝

  He slashed his first sketches across blue paper, making them look as if they’d been done by a knife rather than a pencil. In there ranges, the connection between the passion and the art was direct. A wounded horse took shape, followed by an enraged bull with a long-winged bird on its back. From a window, a woman leaned out and cast lamplight onto the scene.

 

On that first day, the primary elements of what would become the final composition assumed their places. There were puzzles to be solved, problems of angles and perspective, along with addition of the hidden and the mysterious. But a horse, a bull, a fallen warrior, a mother with a dead child, and the woman holding the lamp were all there. These would be his cornerstone symbols, and they’d be offered in a stark vocabulary of black and white and greys. There would be foreground and background, shadows and light, and narrative, but no explanations.

 

His second day of work on the project was a long, frenzied repeat of the first. Exhausted and drained, the artist then put down his pencils to allow the newborn characters a rest after their difficult delivery.

                                                                                                                     (Guernica          P233-234)

 

The painting screamed, and they heard it immediately, but it took time for them to catch the whispers. They saw the fallen warrior before they detected a shadow flower nest to his broken sword. They saw the bull before the broken-winded bird on the table in the dark background. The wound to the horse was noticed only after attention was drawn away from his pained muzzle. They stared and paced its length, making new discoveries as they moved from angle to angle.

 

Most were jolted by the work, by the mass and scope if nothing else. All hints of colour had been removed, leaving it starkly black and white, with muted greys. They needed many minutes to absorb the work, taking it in from far away to close, then left to right, and then back out to a full-frame perspective again. It took time to discover the motility: things hiding in shadows, features half-erased and progressive, growing and fading with movement.

                                                                                                                     ( Guernica         P255)

 

 

 

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