让·福特里尔(Jean Fautrier)高清作品《人质黑地》

作品名：人质黑地

原名：金银夜莺

艺术家：让·福特里尔

年代：1944—1947

风格：无形式艺术,存在主义艺术

类型：比喻

虽然他在20世纪20年代以一种相对传统的、有代表性的方式开始他的职业生涯，但直到20世纪40年代中期，琼·福特利尔才达到艺术成熟，那时他创作了具有开创性的人间绘画。这些作品开始于1943年，当时他的工作室在巴黎郊外的纳粹集中营附近，据说他听到了受害者的哭声，描绘了匿名的、抽象的头、四肢无力的躯干和无形的手。这些绘画表面粗糙、结实，是用石膏状的纸浆建造的，它们被解释为大的暴力和衰败的象征，也是对反抗道德行动的呼唤。他们的准抽象、手势的特性也促成了被称为Art informel(无形艺术)的新运动，它是20世纪40年代末和50年代抽象表现主义的欧洲对应物。ETER大约有一半的石版画和一半的凹版印刷品，以及少量的木刻画。许多人都是与支持他的作品的法国作家合作制作图画书项目。他的对象包括人质图像、和抽象的植物形式。在这里展示的蚀刻中，他用蚀刻针在盘子上留下疤痕和凹坑，逼近了人质画粗糙、有纹理的表面。虽然福特瑞的大部分作品都是在20世纪40年代完成的，但直到1958年之后他签订了合同，才开始编辑。TH出版商Michel Couturier对旧盘子做出新印象。在批准这些相对传统的版本之前，福特里尔在1946年至1956年这十年的大部分时间里致力于“多重原件”的实验系列，其中纸上的印刷品用水粉、粉彩和纸浆过度加工并安装在帆布上。虽然该项目旨在使他的艺术更为广泛，但该项目并不是商业上的成功。

Title:Hostages Black Ground

Original Title:Otages fond noir

artist:Jean Fautrier

Date:1944 - 1947

Style:Art Informel,Existential Art

Genre:figurative

Although he started his career in the 1920s by working in a relatively traditional, representational mode, Jean Fautrier did not reach artistic maturity until the mid-1940s, when he created his seminal Hostage paintings. These works—begun in 1943 when his studio was near a Nazi prison camp outside of Paris and he reputedly heard the cries of its victims—depict anonymous, abstracted heads, limbless torsos, and disembodied hands. With their crude, encrusted surfaces, built up through the use of a plasterlike paper pulp, the paintings were interpreted as emblems of the violence and decay of the Holocaust and also as a call to moral action in resistance. Their quasi-abstract, gestural nature also helped usher in a new movement known as Art informel (formless art), a European counterpart to Abstract Expressionism in the late 1940s and 1950s.Fautrier valued the democratic potential of printmaking and created nearly three hundred prints during his lifetime—roughly half lithographs and half intaglio prints, as well as a handful of woodcuts. Many were produced for illustrated book projects in collaboration with leading French writers who championed his work. His subjects included hostage imagery, erotic nudes, and abstracted plant forms. In the etching shown here he approximated the rough, textured surfaces of his Hostage paintings by using the etching needle to scar and pit his plate.Although most of Fautriers prints were executed during the 1940s, they were often not editioned until after 1958, when he entered into a contract with publisher Michel Couturier to make new impressions of old plates. Prior to authorizing these comparatively traditional editions, Fautrier devoted much of the decade from 1946 to 1956 to an experimental series of multiple originals, in which prints on paper were overworked with gouache, pastel, and paper pulp and mounted on canvas. Although intended to make his art more widely available, the project was not a commercial success.