布赖斯·马登(Brice Marden)高清作品《四季》

作品名：四季

艺术家：布赖斯·马登

年代：1974—1975

风格：极简主义

类型：抽象

介质：油画

标签：单色的

尺寸：243.8 x 632.5 cm

收藏：梅尼尔馆藏，休斯敦，TX，美国

< >油画和蜂蜡在画布上，四块。1974季节是在纽约开始的，但在1975的夏天在德克萨斯的休斯敦完成。当时休斯敦赖斯大学艺术研究所所长哈里斯·罗森斯坦（Harris Rosenstein）要求布莱斯·马登（Brice Marden）和大卫·诺夫罗斯（David Novros）创作四幅画，这些画是罗斯科（Rothko）在最后的Rothko教堂安装中没有包括的。作为回应，Marden决定把他的作品放在《四季》的主题上，就像“我很久以前就想到这些画”。我感兴趣的是活跃我的绘画空间。到目前为止，它们是（独立的）单色板画。他的第一步是确定四个板在由连续的石墨和蜡层构成的一系列图中的尺寸和比例。如果我不使用蜡，我就不能得到光滑的石墨表面。你会有一个没有蜡的毛茸茸的表面。所以，这给了我一个我想要的表面。实际上，它之所以在纸上画这些画，是因为蜡起到粘合剂的作用，而石墨变成颜料。完成的《季节》的大型版本由四个垂直板组成，每个垂直板8英尺乘5英尺，中间间隔3英寸。“这段时间与这件作品的整体大小有关”马登解释道。这些面板被分开，就主题而言，它们都是属于自己的。但他们必须在一起。我真的希望《季节》能够独立存在。一个小版本的《季节》是同时创作的，因为马登对它进行了修改和修正，以作为大面板颜色调整的参考。1975年春天，马登最大的作品《季节》和小版本一起在赖斯艺术学院展出。但是画家认为没有画完，所以在展览结束后，他重新设计了系列，在改变色调的同时增加了更多的油漆层。颜色真的是试图总结每一季的感觉。如果你把它们排除在外，你就得不到它了…这是一个主题。（…）色彩是到达光的一种方式。《季节》是艺术家通过将物质转化为光来表达情感的一种展示。

Title:The Seasons

artist:Brice Marden

Date:1974 - 1975

Style:Minimalism

Genre:abstract

Media:oil

Tag:monochrome

Dimensions:243.8 x 632.5 cm

Location:Menil Collection, Houston, TX, US

Oil and beeswax on canvas, four panels. The Seasons were began in New York in 1974, but completed in Houston, Texas, in the summer of 1975. Harris Rosenstein, director of the Institute for the Arts at Rice University in Houston at that time, asked Brice Marden and David Novros to create paintings to be installed with four paintings that Rothko did not include in the final Rothko Chapel installation. In response, Marden decided to base his work on the theme of the seasons, as I had these paintings in mind for a long time. I was interested in enlivening the space in my paintings. Up to that point they were (independent) monochromatic panel paintings. His first step was to determine the size and the proportion of the four panels in a series of drawings made with consecutive layers of graphite and wax. If I dont use the wax, I cant get this smooth graphite surface. Youd have a furry surface without the wax. So, this gives me a surface that I want. And in effect, it makes these paintings on paper because the wax acts as a binder and the graphite becomes a pigment. The finished, big-scale version of The Seasons consists of four vertical panels, each eight feet by five, installed with an interval of three inches between them. The interval had to do with the overall size of the piece, explained Marden. The panels were separated as in terms of subject matter, theyre each unto themselves. Yet they had to be together. I really wanted The Seasons to be able to stand alone. A small version of The Seasons was created in the same time, as Marden made changes and corrections on it to act as a reference to the color adjustments in the larger panels. The Seasons, Mardens largest work until then, was exhibited, along with the small version, in the spring of 1975 at Rices Institute for the Arts. But the artist did not consider it finished, so, after the exhibition, he reworked the series and added more layers of paint while changing the hue. Color is really something trying to summarize a feeling about each season. If you took them out of context, youd not get it... its a thematic thing. (...) Color is a way of arriving at light. The Seasons is a demonstration of the artists expression of feeling through the transformation of matter into light.