Transcript 聯 作

聯 作
Juliana Hsieh
Andy Warhol
http://www.warhol.org/
http://www.warhol.dk/
http://www.warholfoundation.org/
Andy Warhol
American, born Pittsburgh, Pennsylvania, 1928 - 1987
Self-Portrait, 1986
Synthetic polymer and silkscreen ink on linen
80 x 80 1/4 in. (203.0 x 203.4 cm.)
PARTIAL GIFT OF THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS AND PARTIAL PURCHASE, SMITHSONIAN COLLECTIONS
ACQUISITION PROGRAM AND JOSEPH H. HIRSHHORN BEQUEST FUND, 1995 (95.1)
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Andy Warhol : Twenty Jackies (Vingt Jackies) - 1964 - acrylique et Liquitex sur toile, sérigraphie
Source de l'image : L'Art Contemporain - Klaus Honnef - édité chez TASCHEN (1994)
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Andy Warhol1928-1987Pop Art200 Cans of SoupOther Warhol
Images
200 Cans of Soup by Andy Warhol, Screen print, 1962,
72"x102" Private Collection
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Andy Warhol:
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Zelene boce Coca Cole, 1962.
KiKi Smith
http://www.moma.org/exhibitions/2003/kikismith
Max Beckman
http://www.moma.org/exhibitions/2003/beckman.html
Rembrandt 林布蘭
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http://www.mystudios.com/rembrandt/rembrandt-paintings-young-man.html
http://www.mystudios.com/rembrandt/rembrandt-index.html
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When scholars began to study Rembrandt in the nineteenth and early twentieth centuries they
were surprised by the large number of self portraits. It was discovered that he had painted himself
on at least forty occasions, had etched himself thirty-one times, and made a handful of drawings.
This segment of his oeuvre is unique in art history, not only in its scale and the length of time it
spans, but also in its regularity. New self portraits appeared almost annually, and sometimes
several times a year. The magnificent variety of both painted and etched self portraits
demonstrates that Rembrandt saw them as experimental forcing-grounds for his painterly and
graphic adventures.
The works in this exhibit were chosen to show the development of Rembrandt's style from his
early days in Leiden to his last days in Amsterdam. For this exhibit the self portraits have been
divided into three sections. The paintings section contains fourteen paintings with Rembrandt
alone. The scenes section has five paintings with Rembrandt in costume. The last section
contains eight self portrait etchings.
Rembrandt occupies his very own place among Dutch seventeenth-century painters. Through out
the years his technique changed, but his style remained personal and recognizable. He had many
pupils to whom he taught his 'manner', as well as followers who attempted to learn and assimilate
by themselves. The stories told about Rembrandt and his studio prove very clearly, that
Rembrandt made a unique impression on those who came to work with him. He inspired his pupils
with his openness to bring out their individual capabilities so each painter would ultimately find his
own way.
In order to provide an accurate record as possible of all the important dates in Rembrandt's life,
from his birth to his burial in a rented grave numerous sources were researched.
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Rembrandt
Self Portrait as a Young
Man
1628
oil on panel, 22.5x18.6cm
Rijksmuseum, Amsterdam
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The face is largely in the shadows and the
features are hard to make out. Only the ear
lobe, a striking element of virtually all
Rembrandt's painted self portraits, catches the
light. This painting is not a self portrait in the
strict sense of the word, but a tronie. A tronie is
a Dutch term for a type of picture between a
portrait and a history piece. The sitter is
portrayed in a particular role, sometmes with
the appropiate clothing and props, and his
identity is irrelevant.
Rembrandt
Self Portrait as a
Young Man
1629
oil on panel,
15.5x17.7cm
Bayerische
Staatsgemaldesam
mlungen
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The surprised expression and turned head create the
suggestion that Rembrandt caught himself looking in the
mirror. The loose brushwork also contributes to the
spontaneous impression of this work. Rembrandt has
scratched the curly hair into the wet paint exposing the
ground layer. This plays an important role in the colouring
of the painting. He has succeeded masterfully in creating a
great range of hues with a minimal use of color.
Rembrandt
Self Portrait with Gorget
1629
oil on panel, 38.2x31cm
Germanisches Nationalmuseum, Nuremberg
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This painting has always been thought to be a copy. Then in 1991
at a major Rembrandt exhibit where both paintings were shown
side by side for the first time , Claus Grimm surprised the art world
when he identified this painting as the original. After a comparison
of the two paintings using detailed photos, slides, and a modern
scientific examination, the findings confirmed his position. When
studying the painting from the Hague (the copy) a preliminary
sketch of the subject was found. This has never been seen on a
real Rembrandt before.
Rembrandt
Self Portrait with Beret and Gold Chain
1630-1
oil on panel, 69.7x57cm
Walker Art Gallery, Liverpool
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Judging by the style in which it was painted, this self portrait
was painted in 1630 or 1631. This painting could be classified
as a transitional work. Rembrandt has used his own face to
experiment with the play of light but in contrast to earlier
pieces he has taken pains to depict himself recognizably.
From an inventory of the Royal Family done around 1639, we
know that Charles I owned this picture titled: "being his owne
picture & done by himself in a Black capp and furrd habbitt
with a little goulden chaine uppon both his Shouldrs In an Ovall
and square black frame". After Charles' beheading the picture
has auctioned to Major Bass. It was not until 1935 that the self
portrait was identified based on the description and
dimensions found in the inventory records.
Rembrandt
Self Portrait Wearing a Hat
1632
oil on panel, 21.8x16.3cm
Private Collection
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This painting has only recently been recognized as a Rembrandt.
Scholars in the past rejected the work because of its unusual small
size and weakness in execution. But scientific analysis has shown the
panel to come from the same tree as the Portrait of Maurtis Huygens,
which shows that it was produced in Rembrandt's workshop. The
signature was written while the paint was still wet and the attire was
used in other Rembrandt works. This painting also suffers from over
cleaning and retouching which would explain the weaknesses in
execution.
Rembrandt
Self Portrait
1640
oil on canvas, 93x80cm
National Gallery, London
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Rembrandt painted this self portrait at the height of his
success. The pose resembles a self portrait done by Durer
in 1498. The body is turned more towards the viewer and
the entire arm rests on the balustrade. The face is painted
in short, regular brush strokes. Each hair of the moustache
is rendered separately and his hair is shorter from the
previous year giving him a more dignified look. Rembrandt
has dressed himself as a master from bygone days, but he
has managed above all to remain himself.
Rembrandt
Self Portrait
1642
oil on panel, 69.9x58.4cm
The Royal Collection,
London
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Having been written off as a Rembrandt in 1982, this
painting has made a remarkable comeback. Even
though little of the original paint can be seen today, a
detailed examination has revealed that below the over
painting lies an authentic self portrait. Three stages of
this painting can be distinguished;
the panel was first used in Rembrandt's shop, maybe by
a pupil
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paint was partially scraped off and a second version was
painted in 1642
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then a third painting was painted by another hand over
the second
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The later over painting done at a unknown date can be
recognized by a difference in structure and style of
painting. Striking enough though, the signature was left
untouched and is consistent his his signature at the time.
Rembrandt
Self Portrait
1652
oil on canvas, 112.1x81cm
Kunsthistorisches Museum, Vienna
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In this self portrait Rembrandt appears to have found a fresh inspiration,
as this painting is one of his most successful and original. He
represents himself in a different way from previous works. Hands on
hips, A penetrating gaze that radiates self assurance. The portrait
extends below the waist and much of the picture is taken up by clothing.
The brown robe is probably working attire, designed mainly to be
piratical and comfortable.
Rembrandt
Self Portrait
1658
oil on canvas, 131x102cm
Frick Collection, New York
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The size and monumentality combined with
painting technique make this piece, beyond doubt
the most impressive of Rembrandt's self portraits.
The work is life sized and it seems he has
depicted himself as a famous painter from the
past. The paint surface is extremely complex in
which the paint was applied in several successive
layers.
Rembrandt
Self Portrait with Beret and Turned-Up Collar (right)
1659
oil on canvas, 84.4x66cm
National Gallery of Art, Washington
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A right-handed painter such as Rembrandt would most likely
place a mirror to the left of the easel so that his painting hand
would not block his view. Rembrandt changed this time and
painted himself on the right of the canvas. This reversal give us
us a different view of his face. There is a slight blemish on his
cheek and in this lighting he is noticeably hollow-cheeked. The
dynamic brushwork in the face, makes a stark contrast with the
even strokes used to paint the clothing and background. This is
unusual even for a late rembrandt. the unusually free and
sketch-like execution has sown some doubts as to the paintings
attribution. An explanation might be, that Rembrandt stopped
painting at a certain stage in which he usually carried on
elaborating details and smoothing over. Rembrandt's
biographer, Arnold Houbraken wrote that Rembrandt's motto
was 'that a work is finished when the master has achieved his
intention in it'.
Rembrandt
Self Portrait with Beret and Turned-Up Collar (left)
1659?
oil on canvas, 52.7x42.7cm
National Gallery, Scotland
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With the placement of the subject so close to the edge of the
painting this self portrait gives the viewer a sense of confrontation
with the painter. In comparison to other self portraits, there is an
avoidance of strong shadows and the uniform lighting shows
every unevenness in the face. This painting was done in less
haste than the one in Washington (#10) with the highlights in the
hair applied with care. Whatever the differences in the brushwork
of the two paintings, they probably stem from the same period,
indicate the same aging process, and correspond in terms of
clothing.
Rembrandt
Self Portrait with Two Circles
1665-9
oil on canvas, 114.3x94cm
Kenwood House, London
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Few self portraits have appealed to our imagination so
much over the centuries as this one. Its not just that
this work is monumental and has great pictorial
qualities, but also because of the two circles behind the
painter. Many explanations have been advanced for
this curious background feature. The most plausible
argument links the circles to a theory of art, namely the
ability to draw a circle freehand as evidence of
consummate artistic skill. Because of its closed form,
the circle was associated with perfection and eternity,
and therefore ideal as a symbol of artistic excellence.
Rembrandt
Self Portrait at the Age of 63
1669
oil on canvas, 86x70.5cm
National Gallery, London
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The work shown here is from the last year of Rembrandt's life.
This fact was only discovered a few decades ago during a
restoration. The date is located on the lower left near his back.
Rembrandt tackled this piece full of inspiration and verve. He
made numerous changes in the course of this work to achieve
the best possible result. The fact that he made constant
adjustments to this work does not conjure up the image of an
artist who has lost his flair. To the aging master, painting was
still a creative process, which was not finished until the final
brush stroke had been applied.
Rembrandt
Self Portrait
1669
oil on canvas,
63.5x57.8cm
The Hague
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The details in this painting suggest that this
is Rembrandt's last self portrait. The painter
looks somewhat older, his double chin has
sagged even more, the cheeks are more
sunken, and the gray hair longer. The face is
older but it does not show signs of mental
decline as some earlier authors have
suggested. Although parts of this painting
have been left at an early stage of
completion, the painting as a whole is very
impressive. The hat is more like a lopsided
turban than anything else. X-radiographs
shows he initially planned to give himself a
white cap. In several other self portraits, he
also painted over this white cap. One gets
the impression that Rembrandt painted what
he saw in the mirror and then after he
decided how to portray himself the cap would
be replaced.