《夜生物》李·克拉斯纳(Lee Krasner)高清作品欣赏

李·克拉斯纳(Lee Krasner)高清作品《夜生物》

作品名：夜生物

艺术家：李·克拉斯纳

年代：1965

风格：抽象表现主义

类型：抽象

工作原强度，夜间的怪物，是由一个拥挤，满地的旋转手势笔划油漆的表面的每一英寸都是一个节奏模式全面启动。这张纸是一个抽象的工作，但弯曲，线性形式不过似乎凝聚成一个网络的暧昧意象。威胁的（无肉身的）眼睛和头部出现在最初的黑白画中。忧郁和困扰，片中通过手势烤漆处理，使得一个高度情绪化的影响，丰富的表面纹理，连锁形式的密度，且有威胁的神韵的意象。克莱斯勒一直认为，她的生活和工作是分不开的。她说艺术在深层沟通的必要性："；我全神贯注的想知道自己为了与别人沟通。绘画与生活不是分开的。这是一个。"；后来，她让连接更明确："；我的画是如此的自传，如果有人能不厌其烦地读它。"；克莱斯勒1945娶了同乡画家Jackson Pollock。1956他逝世后的绘画作品是爆炸性的情感迸发、失落与悲痛。这项工作可以与她取得了1959和1963的夜间旅程画晚上在波洛克/克莱斯勒谷仓工作室在泉农村产权之间的系列的盟军，长岛。当时，她正在经历一段失眠期，并在午夜开始绘画。她从一个饱和、强烈色彩的调色板开始工作，主要是黑色和白色，还有一些土调。她为色的变化作为一个紧急的反映："；…我意识到，如果我要在晚上工作，我不得不敲出来的颜色完全，因为我不会处理颜色除了在白天。"；但她承认情感动机，也有“；DEP学习状态。"；冠军夜生物被底特律艺术经销商Franklin Siden建议，谁表现出工作完成后不久。

Title:Night Creatures

artist:Lee Krasner

Date:1965

Style:Abstract Expressionism

Genre:abstract

A work of raw intensity, Night Creatures is comprised of a crowded, allover whirl of gestural strokes of paint in which every inch of the surface is fully activated in a rhythmic patterning. This painting on paper is an abstract work, but the curving, linear forms nevertheless seem to coalesce into a web of vaguely suggestive imagery. Menacing (disembodied) eyes and heads emerge out of the crush of primarily black and white brushwork. Somber and haunting, the piece makes a highly emotional impact through its gestural paint handling, rich surface texture, density of interlocking form, and suggestive and menacing nuances of imagery.Krasner always maintained that her life and work were inseparable. She spoke of the necessity for art to communicate on a profound level: "I am preoccupied with trying to know myself in order to communicate with others. Painting is not separate from life. It is one." Later, she made the connection more explicit: "My painting is so autobiographical, if anyone can take the trouble to read it." Krasner had married fellow artist Jackson Pollock in 1945. Paintings made in the period after his death in 1956 are explosive bursts of feeling, outpourings of loss and grief. This work may be allied with a series she made between 1959 and 1963—Night Journeys—painted at night in the Pollock/Krasner barn studio on their rural property in The Springs, Long Island. At the time, she was going through a period of insomnia and began painting in the middle of the night. She went from working in a palette of saturated, intense color to primarily black and white with some earth tones. She rationalized the chromatic change as a reflection of an exigency: "…I realized that if I was going to work at night, I would have to knock out color altogether, because I wouldn't deal with color except in daylight." But she acknowledged the emotional motivation, too, of a "depressed state." The title Night Creatures was suggested by Detroit art dealer Franklin Siden, who exhibited the work shortly after its completion.