琼·米切尔
作品介绍
A powerful painting rendered on a monumental scale, Joan
Mitchell’s Noon captures the ephemeral quality of nature itself.
This painting is a magnificent tour-de-force, a shimmering array of
dazzling pigment that envelops the viewer in its vast,
kaleidoscopic display. It evokes the pastoral splendor of the
artist’s beloved Vétheuil, with its lush gardens and panoramic
views of the Seine. In Noon, Mitchell liberally covers the canvas
with a rich variety of brushwork, with a swiftness and ease that
belies the underlying complexity of the painting’s internal
structure. Thickly-brushed rectangles of orange, blue and green
hover like dense clouds, while nearby, fine daubs of stippled paint
linger like a slowly-lifting fog. Elsewhere, delicately-dappled
strokes evoke the watery atmosphere of Monet’s water lilies. It
embodies the newfound confidence that pervades Mitchell’s work of
this era, as the effects of living in the French countryside
breathed new life into her paintings.
Mitchell’s connection to the natural world has long dominated
her work, but her permanent move to Vétheuil in 1968 allowed for a
deeper, more powerful interaction. A year earlier, she had received
a substantial inheritance after her mother’s passing, which she
used to acquire a sprawling estate overlooking the Seine. The
property featured a centuries-old stone house called La Tour, which
became Mitchell’s home and studio, as well as the original house
where Claude Monet lived and worked between 1878 and 1881. As
Mitchell’s biographer Patricia Albers wrote: “Nearly every window
at La Tour commanded a dazzling view: between river and the road
below lay a wonderfully unmanicured wet-grass field dotted with
locusts, pines, pear trees, willows, ginkgoes, and sycamores. …
Birds twittered and swooped. Wind ruffled the foliage. … From the
time she acquired Vétheuil, its colors and lights pervaded her
work” (P. Albers, Joan Mitchell: Lady Painter, New York, 2011, p.
313).
Inspired by the bucolic splendor of the French countryside,
Mitchell threw herself into life at La Tour, planting an abundant
garden and renovating a studio space that accommodated much larger
canvases than her earlier one on the rue Frémicourt in Paris. As
was her habit, Mitchell woke around noon and worked into the late
hours of the night, listening to Bach or Charlie Parker. At La
Tour, the gauntlet of the great Impressionist masters had been
passed, and Mitchell accepted the challenge with gusto. The
paintings that followed, abound with wild, sumptuous color in
floating slabs and planes arranged with nearly architectural
precision.
Executed on increasingly larger and more expansive scales,
these paintings reveal a mature artist at the pinnacle of her
career. In 1972, the Everson Museum in Syracuse, New York,
organized the first major solo exhibition of Mitchell’s work, where
Noon was exhibited alongside major paintings from her oeuvre. Its
organizer, James Harithas, described Mitchell as “a terrific
painter and, beyond that, an artist of profound and enduring
insight” (J. Harithas, “Weather Paint,” Art News, May 1972, vol.
71, no. 3, p. 40). Two years later, a major retrospective of
Mitchell’s work followed at the Whitney Museum of American Art in
1974.
琼·米切尔
Newer, emboldened color combinations flourished during this
era. Here, Mitchell’s brilliant pairing of bold tangerine alongside
fields of navy blue enlivens the canvas. Her orange is lively and
buoyant; it zigs and zags its way around the surface much like
sunlight dancing upon the slow-moving waters of the Seine. Her
biographer recalled: “Something Joan had seen, perhaps a flower,
made her fall in love with tangerine orange, a color she had long
disliked. She decided to pair it with the lavender-tinged blue of
the Gauloises cigarette pack” (P. Albers, Ibid., 2011, p. 322).
Indeed, for Mitchell, color was deeply-felt, imbued with personal
memories. In Noon, Mitchell’s shimmery yellow-orange is reminiscent
of her earlier Sunflower of 1969, which in turn were influenced by
van Gogh, an artist Mitchell had admired since her days at the Art
Institute of Chicago. A recent publication described this effect:
“orange appears, this sort of changeable mix of yellow and red, in
which joy and torment, euphoria and sadness merge, in which we
immediately note the memory of Bonnard, Édouard Vuillard and the
French pastoral culture, of Gustav Klimt. … [It is] a melancholic
golden light which dazzles” (S. Parmiggiani, “Joan Mitchell: In
Search of a Lost Feeling,” in Nils Ohlsen, Joan Mitchell, exh.
cat., Kunsthalle Emden, Reggio Emilia, Palazzo Magnani and Giverny,
Musée des Impressionnismes, December 2008 - October 2009, p.
55).
Highly-disciplined and sharp-tongued, with a love of poetry
and the outdoors, Mitchell rigorously confronted each canvas with
increasing confidence and bravado, creating evanescent paintings
that brim with luminous color. In Noon, Mitchell’s careful balance
of rectangular planes takes a cue from Hans Hofmann, whose colorful
architectural slabs similarly reflected the natural world, while
the minute daubs of brushwork within the upper left area evoke the
shimmering planes of Cézanne. These delicately-balanced
compositions seem lit from within by an unknown light source,
prompting one curator to describe them as “wet with light” (J.
Harithas, ibid., p. 63).
Undeniably, the titles that Mitchell selected during this era
were highly significant. In the present work, the word “noon” might
refer to Mitchell’s waking hour, since she typically worked long
into the night and awoke around mid-day. “Noon” might even perhaps
correspond to Mitchell’s own metaphorical awakening and the renewal
that took place in her work upon settling into Vétheuil.
In Noon, Mitchell effectively translates the very spirit of
Vétheuil onto her canvas, essentially immortalizing a moment in
time as if preserved in amber. Indeed, the splendor of Joan
Mitchell’s beloved Vétheuil pervades every square inch of this
masterpiece, a brilliant encapsulation of its heady scents and its
sumptuous, resplendent landscape. Countless critics have chased
this unnameable ephemeral quality in Mitchell’s work, but it is
perhaps the artist herself who put it best: “Painting is a means of
feeling living. Painting is the only art form except still
photography which is without time. Music takes time to listen to
and ends, writing takes time and ends, movies end, ideas and even
sculpture take time. Painting does not. It never ends, it is the
only thing that is both continuous and still. Then I can be very
happy. It’s a still place” (J. Mitchell, quoted in Yves Michaud,
“Conversations with Joan Mitchell, January 12, 1986,” in Joan
Mitchell: New Paintings, exh. cat., Xavier Fourcade, New York,
1986, n.p.).
琼·米切尔
参考译文
一幅具有巨大意义的油画,琼·米切尔的作品《正午》捕捉自然本身短暂的品质。这幅画是一个宏伟的穿越力量,一个闪闪发亮的一系列耀眼的颜料包围了观众在其巨大的,千变万化的展示。它唤起了这位艺术家钟爱的韦特伊(Vétheuil)的田园般的辉煌,它拥有茂盛的花园和塞纳河的全景。在《正午》中,米切尔随心所欲地用丰富多样的笔触覆盖着画布,迅速而轻松地掩盖了这幅画内在结构的复杂性。浓密的橙色、蓝色和绿色的长方形像浓密的云朵一样盘旋,而在附近,点点油漆的细腻涂抹就像一团缓慢升起的雾气。在其他地方,细腻的笔触唤起了莫奈的睡莲的水气。它体现了米切尔这个时代作品中新发现的自信,因为生活在法国乡村的影响为她的绘画注入了新的生命。
米切尔与自然世界的联系长期主导着她的工作,但她在1968年永久搬到贝瑟尔的举动,使她得以进行更深入、更有力的互动。一年前,她母亲去世后,她得到了一大笔遗产,她过去曾买下一处可以俯瞰塞纳河的广阔地产。这里有一座有着百年历史的石屋,名叫拉图尔,是米切尔的家和工作室,也是克劳德·莫奈在1878年至1881年期间居住和工作的原址。正如米切尔的传记作者帕特里夏·阿尔贝尔斯(Patricia
Alber)所写的:“拉图尔的几乎每扇窗户都能看到令人眼花缭乱的景色:在河流和下面的道路之间,有一片未经修剪的草地,上面点缀着蝗虫、松树、梨树、柳树、银杏和桑树。”…鸟儿吱吱作响,猛扑而过。风吹拂着树叶。-…从她获得Vétheuil的那一刻起,它的颜色和灯光就弥漫在她的作品中“(P.阿尔贝尔斯,琼·米切尔:佩恩特夫人,纽约,2011年,p。313)。
米切尔受到法国乡村田园风光的启发,投身于拉图尔的生活,种植了一个丰富的花园,并翻修了一个工作室空间,容纳了比她之前在巴黎弗雷米科特街的画布大得多的画布。就像她的习惯一样,米切尔中午醒来,工作到深夜,听巴赫或查理·帕克的歌。在拉图尔,伟大的印象派大师的挑战已经通过,米切尔兴致勃勃地接受了挑战。随后的绘画,充满了狂野的,华丽的色彩浮动板和平面排列,几乎建筑精确。
这些画的规模越来越大,规模也越来越大,展示了一位成熟的艺术家,她的职业生涯正处于顶峰。1972年,位于纽约锡拉丘兹的艾弗森博物馆组织了米切尔作品的第一次大型个展,在那里《正午》和她作品中的主要画作一起展出。它的组织者詹姆斯·哈拉马斯将米切尔描述为“一位了不起的画家,除此之外,他还是一位具有深刻和持久洞察力的艺术家”(J.Hallias,“天气绘画”)。艺术新闻,1972年5月,第二卷。71,第3号,p.40)。两年后,1974年惠特尼美国艺术博物馆(Whitney
Museum Of American Art)对米切尔的作品进行了一次重大回顾。
新的、大胆的颜色组合在这个时代蓬勃发展。在这里,米切尔的华丽的结对大胆的橘子与领域的海军蓝使画布活跃。她的橙色是活泼和浮力的,它在水面上蜿蜒而行,就像阳光在塞纳河缓慢移动的水面上跳舞一样。她的传记作者回忆道:“琼见过的东西,也许是一朵花,让她爱上了橘黄色,这是她一直不喜欢的颜色。她决定把它和高露洁香烟包中淡紫色的蓝色搭配起来“(P.阿尔贝尔斯,同上,2011年,p.322)。事实上,对米切尔来说,色彩是深深的,充满了个人的记忆。在《正午》中,米切尔那闪闪发光的黄橙色让人想起了她早些时候的样子向日葵1969年,这反过来又受到梵高的影响,一位艺术家米切尔从她在芝加哥艺术学院的时候起就一直钦佩她。最近的一份出版物描述了这一效果:“橙色出现了,这种黄色和红色的混合,其中欢乐和折磨、喜悦和悲伤融为一体,我们立即注意到对邦纳德、爱德华·维拉德和法国牧歌文化的记忆,即古斯塔夫·克里姆特(Gustav
Klimt.…)。“这是一束令人眼花缭乱的金色光芒”(S.帕米吉亚尼,“琼·米切尔:寻找一种失落的感觉”,载于尼尔斯·奥赫尔森,琼·米切尔,CAT.,Kunshalle
Emden,Reggio Emilia,Palazzo Magnani and Giviny,Musée des
Impressionnismes,2008年12月-2009年10月,p.55)。
琼·米切尔
高度自律和尖刻的舌头,热爱诗歌和户外,米切尔严格地面对每一个帆布增加信心和虚张声势,创造了短暂的绘画,充满了发光的色彩。在《正午》中米切尔对长方形平面的仔细平衡是汉斯·霍夫曼(Hans
Hofmann)的一个启示,他的五颜六色的建筑板同样反映了自然世界,而左上角地区细微的画笔让塞尚(Cézanne)闪闪发亮的平面产生了灵感。.这些微妙的平衡的构图似乎从内部被未知的光源照亮,促使一位策展人将它们描述为“光湿了”(J.Hattas,同上。,p.63)。
无可否认的是,米切尔在这个时代选择的标题是非常重要的。在目前的工作中,“中午”一词可能指的是米切尔醒着的时间,因为她通常工作到深夜,中午左右醒来。“正午”甚至可能与米切尔自己的隐喻觉醒和在她的作品中重新定居在Vétheuil中所发生的变化相对应。
在《正午》中,米切尔有效地将Vétheuil的精神转化到她的画布上,实质上是永恒的时刻,仿佛保存在琥珀中。事实上,琼·米切尔钟爱的韦特伊的光辉弥漫着这幅杰作的每一平方英寸,是它令人陶醉的香味和富丽堂皇的风景的光辉的概括。在米切尔的作品中,无数的评论家追求着这种不可比拟的短暂品质,但也许是艺术家自己说得最好的:“绘画是一种感觉的手段。”活的。除了静止摄影之外,绘画是唯一的艺术形式,摄影是没有时间的。音乐需要时间去聆听和结束,写作需要时间和结束,电影结束,思想甚至雕塑都需要时间。绘画不是。它永远不会结束,它是唯一的东西是连续的和静止的。那我就会很开心了。“这是一个静止的地方”(J.Mitchell,引用于Yves
Michaud,“1986年1月12日与琼·米切尔的谈话”)琼·米切尔:新画,Xavier
Fourade,纽约,1986年,N.P.)。
作品细节
琼·米切尔
画家简介
琼·米切尔(Joan Mitchell,1926-1992),又译为“琼·米歇尔”或“琼安·米契儿”。美国
抽象表现主义画家兼版画家,被公认为第二代美国抽象表现主义者中的主要人物。生于芝加哥,并于芝加哥艺术学院获得艺术学士学位(1947年)和艺术硕士学位(1950年)。跟德库宁与克莱因(Franz
Kline)学过画,后来去了法国巴黎,认识了加拿大画家黎奥佩罗(Jean-Paul
Riopelle),两人自此共同生活创作数十年(晚年离婚),虽然他们工作室是分开的,但艺术创作相互影响。黎奥佩罗家境富裕,夫妻二人生活优渥,可以完全不需工作、不管艺评如何评论,更不必攀谈策展人的脚跟,全身心专注于创作。她是她时代少数几位获得批评和公众赞誉的女画家之一。
琼·米切尔于1949年迁往纽约,并积极加入艺术圈交流。自1955年开始,她来往于巴黎和纽约两地,并在1959年彻底搬到巴黎生活。1968年,米切尔在巴黎西北部的小村庄维特伊(Vétheuil)定居,同时继续在欧洲和美国举办展览。在维特伊,她开始定期邀请处在职业生涯不同阶段的艺术家驻留,为他们提供场地和支持以帮助他们发展艺术实践。米切尔于1992年去世时,她的遗嘱指定其部分遗产应用于成立基金会来直接支持其他视觉艺术家。米切尔的画作和版画可以在美国和欧洲的主要博物馆和藏品中看到,包括纽约现代艺术博物馆
; 惠特尼美国艺术博物馆,纽约; 芝加哥艺术学院 ; 明尼阿波利斯沃克艺术中心 ;
琼·米切尔是美国第二代抽象画家里为数不多的女画家。20世纪50年代,她被认为是纽约画派的领军人物。早年的画作受到塞尚、康定斯基、梵高、莫奈等人的影响,后来受到弗兰兹·克莱恩、威廉·德库宁和让
-
保罗里、奥佩尔等人的影响。她的画作很大,通常由两个画板组成,以风景画为主。她经常在未涂底漆的帆布或白色地面上作画,采用手势甚至是暴力的笔触,她将一幅画描述为“一个在空间中转动的有机体”。在1960年至1964年期间,她远离了早期作品的全方位风格和鲜艳色彩,而是使用阴沉的色调和密集的中央色块来表达早期和原始的东西。据说这些作品中的标记非同寻常:“油漆被甩到画布上,溢出并溅到表面,并用艺术家的手指涂抹。”
艺术家自己将在20世纪60年代早期创作的作品称为“非常暴力和愤怒”,但到了1964年,她“试图摆脱暴力阶段并进入其他目的。
“第二代抽象表现主义画家”是琼·米切尔无法甩掉的标签,她深知这其中的意义和无形的束缚,但是她决定让标签的问题随风而去,选择沉浸在创作中。“我的绘画无关乎那些所谓的艺术话题,他们关乎于一种感觉,是我对外界对风景的直观的感受…另外,绘画和创造它的人也没有什么关系。我的绘画仅和感觉相关。”米切尔说道。她后来的传记作者曾经披露出了她不为人知的一面:琼·米切尔具有联觉和遗觉记忆。这也展现在她的画作上,因为在她的世界中,音乐激发出视觉化的颜色和形状,加上过目不忘的病症都是造就她成为杰出艺术家的重要契机。米切尔超越了第一代抽象表现主义画家,因为她不仅找到了属于自己的独特风格,还将绘画中强调动作的部分与颜色相结合。她把从物体中得到的感知和马蒂斯、梵·高的灵韵相互交融。根据艺术史学家Linda
Nochlin的说法,“米切尔图片的意义和情感强度”在结构上产生了一系列的悖论:密集与透明的笔触;网格结构与更混乱,特殊的结构;重量画布的底部与顶部的重量;光与暗;波涛汹涌与连续的笔触;和谐与冲突的色调并置——所有这些都是意义和感觉的强烈迹象。
(阴山工作室根据维基百科编写)
作品资料
Joan Mitchell (1925-1992)
Noon
成交总额USD 9,797,000
估价USD 5,000,000 - USD 7,000,000
拍卖 12152
战后及当代艺术 (晚间拍卖)
纽约|2016年5月10日
拍品 18 B
signed 'Joan Mitchell' (lower left); signed again and titled
'"Noon" Joan Mitchell' (on the reverse)
oil on canvas
103 x 79 in. (261.6 x 200.6 cm.)
Painted in 1969.
来源
Galerie Jean Fournier et Cie, Paris and Martha Jackson
Gallery, New York
Private collection, New Haven, 1973
Xavier Fourcade, Inc., New York
Acquired from the above by the present owner, 1980
展览历史
Paris, Galerie Jean Fournier et Cie, Joan Mitchell, May-June
1969.
Saint-Paul-de-Vence, Fondation Maeght, L'Art Vivant aux
États-Unis, July-September 1970, p. 62.
Syracuse, Everson Museum of Art and New York, Martha Jackson
Gallery, Joan Mitchell: My Five Years in the Country; An Exhibition
of Forty-Nine Paintings, April-June 1972, p. 18
(illustrated).
相关文献
Joan Mitchell, exh. cat., Institut Valencià d'Art Modern,
1997, pp. 105 and 111 (installation view illustrated).
阴山工作室
本文图片及英文资料均来自佳士得官方网站,局部细节图片及中文资料系阴山工作室所加。某些英文单词中的分割线和中文被大写拼音替代的词是为了规避网站非法字符审核。参考译文由Google翻译插件自动生成,或有疏谬在所难免。
韦特伊(Vétheuil),一译“弗特伊”,位于巴黎西北约60公里,塞纳河在这里拐了一个大弯。画家莫奈曾于1878-1881年在这里度过了3年多的时光,创作了许多富于诗情画意的作品,他的妻子卡米尔在此地去世。
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