费奥多尔·索伦采夫(Paul Kane)高清作品《Kee-akee-ka-saa-ka-wow》

作品名：Kee-akee-ka-saa-ka-wow

原名：给战争呐喊的人

艺术家：费奥多尔·索伦采夫

年代：1846

风格：浪漫主义

类型：肖像

1846年7月14日，凯恩在《田野日记》中记述了他与克里省省长Kee-akee-ka-saa-ka-wow的遭遇，并详细阐述了他“总是说话的人，最后一个”，他“用他那颗心[心]的低声抒发他的命令”。O执行得相当快，酋长的和右臂刷了几下大笔触。凯恩将注意力集中在面部，注意到面部结构的变化：明显的嘴部区域、较重的下唇、面颊开始滑入下颚时松弛的皮肤、内衬的前额。KeaAkka Ka Saaka WoW的下颚和他移动的眼睛在视觉上被红色的面部油漆增强。凯恩的水彩画Kee-akee-ka-s a a-ka-wow的《给予战争轰动的人》与他后期的同一主题油画之间的比较，是凯恩在多大程度上改变了坐者的本质的最常被引用的例子之一。在油画中，凯恩把他的主体转变成一个通过特征的延伸甚至理想化而表现中和的人。KeaKaaKaSaaka哇，现在设置在一个预兆天空的背景下，看起来超过观众。所有的装备，所有的“印第安人”的标志——管茎，流苏衬衫，蟑螂头饰——都被编组来传达原始水彩仅仅通过外貌所唤起的重力。

Title:Kee-akee-ka-saa-ka-wow

Original Title:The Man That Gives the War Whoop

artist:Paul Kane

Date:1846

Style:Romanticism

Genre:portrait

In his field journal Kane records his encounter with the Cree chief Kee-akee-ka-saa-ka-wow on July 14, 1846, and elaborates that he “is the man that always speekes [speaks], the last” and he “dilliveres [delivers] his ordere in a low tone in his hert [heart].” This watercolour appears to have been executed fairly rapidly, with the chief’s chest and right arm brushed in with a few broad strokes. Kane focuses on the face, noting its variations in structure: the pronounced mouth area, the heavier lower lip, the slack skin of the cheeks as they start sliding into jowls, the lined forehead. Kee-akee-ka-saa-ka-wow’s lower jaw and his shifted glance are visually reinforced by red facial paint. The comparison between Kane’s watercolour Kee-akee-ka-saa-ka-wow, “The Man That Gives the War Whoop” and his later oil painting of the same subject is one of the most oft-cited examples of the extent to which Kane modified the essence of a sitter. In painting the oil, Kane transforms his subject into a man whose expression has been neutralized through elongation and even idealization of the features. Kee-akee-ka-saa-ka-wow, now set against a backdrop of a foreboding sky, looks beyond the viewer. All the accoutrements, all the markers of “Indianness”—the pipe stem, the fringed shirt, the roach headdress—are marshalled to communicate the gravitas that the original watercolour evokes through physiognomy alone.