厄格罗的艺术的关键就在于他无可救药的自我矛盾。几个完全相反的趋势交织在一起。他热切地渴望触摸、把握主题——模特,与坚持无动于衷,保持距离并客观地观察对象之间的矛盾;他用立体的观念去理解真实的世界,与坚持像蒙德里安那样将图像精确地转化成画布平面之间的矛盾;一种对真实物体形象的强烈好奇心,和将它们就范于预先规定的几何形式的矛盾。他采取一般的色调途径去表现外形,同时将15世纪文艺复兴画家生动的色彩拼入其间,而造成强烈的对比。努力提炼出一个结构上准确、严谨,包含强烈张力的画面。 · 一个人必须学习透视画法、美术史和解剖学,但这些学习都是疏松的。在解剖学里,我学了观察心理学。当然,那是很有趣的。与此同时,我还学习了完形心理学的所有理论,固然,我不知道它对我是否有过影响。而学习透视画法是很有益处的,固然现在它对我一点也不重要。我曾试过用透视画法创作一幅画,赋予一个想象的主题以更大的真实,那就是1953年画的《音乐家》。另外,在1972年的《夏日》中,我发现透视那么强烈,以致我不得不做了张更宽的桌子,放在后面而不是前面,这样当我看它时,角度不是太刁,我不能仅在心中做这个调整,我得有视觉上的证据。 ——尤恩·厄格罗 Oval portrait 45 × 40.6 cm oil on panel ~1964 Partrait of Eve 47.6 × 47.6 cm oil on canvas ~1969 Hand of Christine 40.6 × 50.8 cm Oil on canvas ~1966 Marigold 50.8 × 61 cm oil on canvas ~1969 Sue wearing a blue swimming cap 40 × 70 cm oil on canvas ~1978-80 Cati with a string of beads 56.5 × 32.4 cm oil on canvas,laid on panel ~1986 Mandi 38 × 38 cm oil on canvas ~1985-89 Propped head 248 × 170 cm oil on canvas ~1989-92 · 我喜欢意大利文艺复兴的画家,我难以想象去了佛罗伦萨而没有去看看马萨乔画的《三位一体》,就象经过一位朋友的家,看见屋子里亮着灯而没有进去坐坐一样。马萨乔的《三位一体》是一个使用几何的完美的例子,在这幅画里,黄金分割与一种精神联系着。我非常喜欢日本的版画,我以为洛伦采蒂非常了不起,他们对我很有帮助。当然还有塞尚、皮耶罗、普桑、安格尔、伦勃朗、乌切罗、曼坦尼亚、戈雅和委拉斯贵支。 看他们的作品不是吸取灵感,仅仅是一种享受。一个人的灵感来自内心和环境四周,每次我走过街道,我都能看见一个普桑。 ——尤恩·厄格罗 41.3 x 48.9 cm 1979-81 61 x 51 cm The Egyptian spearess 28 x 19.7 cm 1986-87 The Blue towel 28 x 19.7 cm 1982-83 33 x 28 cm 1992 · 在我观看事物时,每一次都是新的。谁要我教他怎样马上着手一幅画,我无法相告。我的画法没有概念,每一幅都不同。有时,始于一个不定的思想,一个在我脑海中酝酿了一些时间的思想。 ——尤恩·厄格罗 Seated Nude oil on canvas ~1954 nude 48 × 101 cm oil on convas ~1958 Beautifull girl lying down 71 × 101.6 cm oil on convas ~1959 Summer picture 109.2 × 109.8 cm oil on convas ~1972 Snake 48.3 × 34.9 cm oil on canvas ~1975 Root five nude 48 × 120 cm oil on canvas ~1976 Striding nude,blue tress II 151.5 ×120.6 cm oil on canvas ~1978-81 Curled nude on a stool 78 × 170 cm oil on convas ~1982-83 Zage 149.2 × 105.4 cm oil on convas ~1981-82 nude oil on convas ~1982-84 Pepe's painting 45 × 90 cm Oil on canvas ~1984-85 Reclining Nude 34.5 × 52.3 cm oil on canvas ~1986-87 Girl Tree 150.5 ×120.6 cm oil on canvas ~1989-91 Nude 163.8 × 116.8 cm oil on convas ~1992-93 Propellor 35.6 × 53.3 cm oil on canvas ~1994 prostrate nude 48 × 71 cm oil on canvas ~1995 The wave 50 × 100 cm oil on canvas ~1991-97 Pyramid nude 50.8 × 55.9 cm oil on canvas ~1994-96 Ali 248 × 170 cm oil on canvas ~1995-97 · 有些痕迹能与画共存,可能更多的痕迹依然是不确定的定势,它们同发生在今天、昨天和当下的事有关;它们可以有不同的色彩,这样我就能知道发生了什么。它(痕迹)是一幅航线图和日志,正试图与绘画是什么的概念保持一致。我不知道到最后会成什么样子,但我想弄清楚为什么主题会看上去这么绝妙,并希望使感觉清晰地再现在一个平坦的表面。 ——尤恩·厄格罗 Zoe 30.5 × 40.6 cm oil on canvas ~1987-93 91.5 x 141.2 cm 1967-68 The diagonal 118 × 167 cm oil on canvas ~1971-77 K and L 39.8 × 49.8 cm oil on canvas ~1995-97 45 x 54.6 cm 1998 · 现在我喜欢一种有规则的长方形,这是一种理性的外形,整幅画可把画布的外形和对象的外表粘合在一起,丈量将与长方形有关系。我采用丈量,这样主题与长方形才有了真正的联系,可以让我自由地创造一个完美的外表。 有人问我,为什么在完成的画面上要留下一些测量的画痕。我怎么能不要那些画痕呢,若下一秒钟你就需要它们呢?我没有真正完成一幅作品就停下了,然而,如果我把那些量痕抹去,那么它会成为另一幅画了。 ——尤恩·厄格罗 Half an apple 14 × 19 cm oil on canvas, laid on panel 1976 18.6 x 18.4 cm 1967-68 Apple 12 × 15 cm oil on canvas Wax fruit 19.7 × 29.2 cm oil on canvas ~1973 Orange 12 × 19 cm oil on canvas lemon 19.7 × 15.9 cm oil on canvas, laid on panel ~1975 Pear 12 × 15 cm oil on canvas Pear 16.5 × 21 cm oil on canvas, laid on panel 1982 Chinese Pear 15.3 × 21.5 cm oil on board ~1990 Pear 14.6 × 19 cm oil on canvas ~1990 lemon 12 × 19 cm oil on canvas, laid on panel ~1996 Banana 12.7 × 17.8 cm oil on canvas, laid on panel ~1995 lemon 12 × 13 cm oil on canvas ~1997 Quinse 25.4 × 35.6 cm oil on canvas, laid on panel 1998 Onion with playing card 30.5 × 38.1 cm oil on canvas, laid on panel 1972 Two Pear 17.1 × 24.2 cm oil on canvas ~1990 Lemons 20.3 × 28.6 cm oil on canvas, laid on panel ~1975 lemon 36 × 30 cm oil on canvas Two pears 12.7 × 17.9 cm oil on canvas, laid on panel ~1998 slices of pumpkin 30.4 × 40.6 cm oil on canvas ~1993 Loaf 34.9 × 78.9 cm oil on canvas ~1979-83 Buns 34.3 × 68.6 cm oil on canvas, laid on panel ~1979 Craigie's birthday cake 26 × 36.2 cm oil on canvas ~1984-85 Shrunken tangerine 17.2 × 32.8 cm oil on canvas, laid on panel ~1988 Mouse loaf 24.1 × 36.8 cm oil on canvas, laid on panel ~1991-92 Is it tart,or is it Ayers Rock? 12.7 × 17.8 cm oil on canvas, laid on panel ~1998 9.5 X 29.8 × 28.2 cm oil on canvas, laid on panel ~1997 Letty's bamboo 22.2 × 19.8 cm oil on canvas, laid on panel ~1997 Peach with blue vase 30.5 × 24.8 cm oil on canvas, laid on panel 1976 Flower in bottle 35 × 31 cm oil on canvas Still Life with Rose 31.9 × 38.1 cm oil on canvas ~1957 Still life with Delft jar 61 × 50.8 cm oil on canvas, laid on panel 1959 Leaves in a Delft vase 57.1 × 47 cm oil on canvas ~1960 Passionate proportion 45.7 × 100.3 cm oil on canvas ~1964 Still life with model marks 40.6 × 101.6 cm oil on canvas, laid on panel 1971-72 Dehydrated pear with drapery 30.5 × 24.1 cm oil on canvas, laid on panel ~1993 Duck 75 × 49.5 cm oil on canvas ~1968 · 厄格罗曾经在一幅画上花了5年多时间,被指责太过于完美主义,对此他说: 我不明白一个人怎样能成为极度完美主义者,若你有了一个想法,你得把它表达出来。有时你以为达到了,可假如一不留神走得太远,而画出了另一幅了。大部分作品在看上去完成之前已经经历了一场大变革。 ——尤恩·厄格罗 Cast 33 × 28 cm oil on canvas ~1987-91 Still life with cast 50.8 × 40.6 cm oil on canvas ~1960 Skull 32.4 × 63.5 cm oil on canvas ~1994-97 Skull 30.5 × 35.6 cm oil on canvas ~1952 Double square, Double square 23.5 × 47 cm oil on canvas ~1980-83 · 我是在画一个思想而不是一个理想,我基本上是在尝试画一幅布满控制意识的、有力而和谐的、有结构的作品,我不会让机会躺在那儿,除非它已经被征服,假如我以为它不能陈述什么,我不会有意留下一笔。 ——尤恩·厄格罗 Winter sun 24.7 × 20.3 cm oil on canvas, laid on panel ~1980-83 Lake Lugano 24.4 × 32.7 cm oil on canvas, laid on panel ~1976 Italian Landscaper 86.4 × 111.7 cm oil on canvas ~1972 Pignano 63.5 × 127 cm oil on canvas ~1973 Sunset Lemba,Cyprus 30.8 × 41.3 cm oil on canvas, laid on panel ~1980 The Church by the sea Khlorakas,Cyprus 72.4 × 126.4 cm oil on canvas ~1980 · 尤恩·厄格罗(Euan Uglow 1932-2000),英国当代著名画家,1932年出生于英国伦敦,是继弗朗西斯·培根(Francis Bacon)和卢西恩·弗洛伊德(Lucian Freud)之后的英国当代画坛公认的大师之一。其画作形式独树一帜,具有深刻的艺术思想,表现出宁静、理性、严谨和深刻的典雅风范。 |
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