帕特里克·考尔菲尔德(Patrick Caulfield)高清作品《海明威从不在这里吃饭》

作品名：海明威从不在这里吃饭

艺术家：帕特里克·考尔菲尔德

年代：1999

风格：照相写实主义,波普艺术

类型：室内

上世纪90年代末，伦敦国家美术馆委托来自欧洲和北美的24位艺术家创作作品，以响应该美术馆的收藏。这是帕特里克·考尔菲尔德对展览的贡献，它以西班牙十七世纪画家弗朗西斯科·德·祖巴兰（1598-1664）于1630年（伦敦国家美术馆）创作的《银盘上的水与玫瑰》为中心。这个主题重现在Zurbar的静物中，篮子里有1633个橙子（诺顿西蒙基金会，帕萨迪纳）。虽然考尔菲尔德一直很欣赏国家美术馆的西班牙静物画，但他的选择部分取决于他想庆祝他儿子最近嫁给西班牙人的愿望。考尔菲尔德对神圣秩序的描述和其中所包含的物品具有宗教意义（清水和玫瑰都是与圣母玛利亚的纯洁和圣洁相关的象征），他声称他对这幅画的主要兴趣在于它的形式简单，而不是克里。斯蒂安潜流虽然他一丝不苟地渲染了祖巴兰绘画中出现的水杯和银盘，但是这朵花已经被一段石灰代替了。在右边，他打算画一瓶颈部有石灰楔的设计师啤酒，但是他选择了一个补品瓶，因为瓶子比较短，因此不会打破上面的护栏线。自上世纪80年代末以来，在啤酒瓶中插入石灰楔的做法常常成为西班牙文化的一个时尚标志。这头公牛的头是用考尔菲尔德在伦敦雇用的一个实心填充的头部绘制的，是在他19日参观马德里市长广场附近的一家酒吧后被包括在内的。98的地方挂着一个类似的。在同一次旅行中，他发现了一个酒吧，上面写着“海明威从来没有在这里吃饭”，这是在一座到处都是酒吧的城市里被歪曲的推荐信，这些酒吧声称曾经为美国著名作家服务。欧内斯特·海明威在《嘉年华》等书中对西班牙的追忆促成了以贵族斗牛士和酗酒为特征的民族刻板印象。在牛头和静物渲染中显而易见的高度现实主义与极度简化和平坦的背景并置。虽然现实主义元素命令稳定的空间位置，其余的内部是模糊的空间。圆桌和静止物体与后面墙壁的关系很难建立，支撑桌子的方法也是如此。同样，通过拱门的房间如何与前景连接还没有解决。在左上角，一个由一长串帘线制成的卷轴已经应用在帆布表面上，并涂上绿色。1985-6年（Tate T07112）的《室内有画》一书中，椭圆形图案是由三排从管中直接挤出的丙烯酸漆形成的，Caulfield通过将真实的三维物体引入画中指出了绘画空间的技巧。真实和人为的探索是他对绘画和文化研究的中心主题。

Title:Hemingway Never Ate Here

artist:Patrick Caulfield

Date:1999

Style:Photorealism,Pop Art

Genre:interior

In the late 1990s the National Gallery, London commissioned twenty-four artists from Europe and North America to produce work in response to the gallerys collection. Hemingway Never Ate Here, which was Patrick Caulfields contribution to the exhibition, takes as its central motif A Cup of Water and a Rose on a Silver Plate, c.1630 (National Gallery, London) by the Spanish seventeenth century painter Francisco de Zurbarán (1598-1664). The motif reappears in Zurbaráns Still Life with Basket of Oranges, 1633 (The Norton Simon Foundation, Pasadena). Though Caulfield had always admired the Spanish still life paintings in the National Gallery, his choice was partly determined by his wish to celebrate his sons recent marriage to a Spaniard.While it is probable that Zurbarán considered the simple composition of his still life paintings as an expression of divine order and that the objects in them have religious significance (clear water and the rose are both symbols associated with the purity and holiness of the Virgin Mary), Caulfield has stated that his primary interest in this painting lies in its formal simplicity, and not in its Christian undercurrents. Although he has meticulously rendered the cup of water and the silver plate as they appear in Zurbaráns painting, the flower has been replaced by a segment of lime. To the right he intended to paint a designer beer with a lime wedge in its neck, but chose a tonic bottle because it was shorter and thus would not break the line of the dado rail above. Since the late 1980s the practice of inserting lime wedges into beer bottles has often come to serve as a fashionable mark of Hispanic culture.The bulls head, painted from an actual stuffed head that Caulfield hired in London, was included after he visited a bar off the Plaza Mayor in Madrid in 1998 where a similar one was hung. During the same trip he discovered a bar bearing the inscription Hemingway never ate here, a wry recommendation in a city dotted with bars claiming to have served the famous American writer. Ernest Hemingways evocations of Spain in such books as Fiesta contributed to a national stereotype characterised by noble matadors and hard drinking.Caulfields play with signs of cultural identity is matched by his use of pictorial conventions. The high realism evident in the rendering of the bulls head and the still life objects is juxtaposed with a heavily reductive and flat background. While the realist elements command stable spatial positions, the rest of the interior is ambiguous spatially. The relation of the round table with the still life objects to the wall behind is difficult to establish, as is the means by which the table is supported. Likewise how the room through the archway connects with the foreground is not resolved. In the upper left a scroll made from a length of sash cord has been applied to the canvas surface and painted green. As with Interior with a Picture, 1985-6 (Tate T07112) where an oval motif is formed from three thick lines of acrylic paint squeezed direct from the tube, Caulfield points out the artifice of pictorial space by introducing a real three-dimensional object into the painting. The exploration of real and artificial is a central theme in his investigation into painting and culture.