《法兰西岛》让·埃里翁(Jean Helion)高清作品欣赏

让·埃里翁(Jean Helion)高清作品《法兰西岛》

作品名：法兰西岛

艺术家：让·埃里翁

年代：1935

风格：抽象主义

类型：抽象

介质：油画

收藏：泰特现代，伦敦，英国

《法兰西岛》是让·海利翁最重要的抽象画之一，两米宽的地方，它被清晰地描绘成一幅重要的作品。20世纪30年代中期，他的典型作品是在相对中立的背景上布置各种尺寸和颜色的飞机。对于大规模的法国冰岛海狮引入了一个额外的蓝色背景平面，占据了作品的上半部分。其效果是增强隐含空间的感觉，其中明显重叠的平面标记出节奏。四个浮动元素通过调制的阴影进一步加强了这一点，这表明它们是这个浅空间中的凸形形式。这个反复出现的装置与海利昂对古代建筑雕塑浮雕的兴趣有关(Jean Hélion, Lettres d'Amérique: Corr.ance avec Raymond Queneau 1934-1967, Paris 1996, p.81)。1933-5年的各种预备性水墨画中都发现与法国冰岛的元素有非常相似的结合，其中著名的是1935年的大量水墨画（巴黎国立现代艺术博物馆，复制于赫利昂：德辛1930-1978年，展览目录，新博物馆，N.艺术D'AtEngern Nene，蓬皮杜，巴黎，1979，P.19）。多年后，当被问及这个名称时，他解释说，法国岛（指巴黎周边地区）是由一位朋友皮埃尔·布鲁吉埃（PierreBruguire）命名的，“因为它不可能被画在其他地方”（写给泰特的信，1965年10月29日）。（Matthew Gale）

Title:Ile de France

artist:Jean Helion

Date:1935

Style:Abstract Art

Genre:abstract

Media:oil

Location:Tate Modern, London, UK

Ile de France is one of Jean Hélion’s most important abstract paintings and, at two metres across, it was clearly envisaged as a substantial piece. Typical of his work in the mid-1930s is the disposition of variously sized and coloured planes across a relatively neutral background. For the large scale of Ile de France Hélion introduced an additional blue background plane that occupies part of the upper half of the composition. The effect is to reinforce the sense of implied space, within which the apparently overlapping planes mark out a rhythm. Four of the floating elements enhance this further through a modulated shading that suggests that they are convex forms within this shallow space. This recurrent device related to Hélion’s interest in sculptural reliefs on ancient architecture (Jean Hélion, Lettres d’Amérique: Correspondance avec Raymond Queneau 1934-1967, Paris 1996, p.81). Closely comparable conjunctions of elements to those in Ile de France are found in various preparatory ink and wash drawings of 1933-5, notable one of those known as Large Volumes, 1935 (Musée National d’art moderne, Paris, reproduced in Hélion: Dessins 1930-1978, exhibition catalogue, Musée National d’art moderne, Centre Pompidou, Paris 1979, p.19). When asked about the title many years later, he explained that Ile de France (referring to the region around Paris) was so named by a friend, the collector Pierre Bruguière, ‘because it could not have been painted elsewhere’ (letter to Tate, 29 October 1965). (Matthew Gale)