《曼陀林的女人》乔治·布拉克(Georges Braque)高清作品欣赏

乔治·布拉克(Georges Braque)高清作品《曼陀林的女人》

作品名：曼陀林的女人

艺术家：乔治·布拉克

年代：法国c.1910；

风格：分析立体主义

类型：风俗画

材质：布面油彩

标签：女性肖像

尺寸：80.5 x 54 cm

收藏：西班牙马德里蒂森森博尼萨萨博物馆

1910年春，在分析立体主义运动初期，布莱克创作了《曼陀林女人》。在这部作品中，艺术家在经历了两年的景观和静物之后，回到了人类的形象。也许，这种回归是由于1909年在汽车沙龙欣赏卡米尔·科洛特的24幅画时给他留下的印象。科罗特向他展示了乐器的添加如何给被描绘的人注入静谧生活的宁静，主题的寓言性和表现力的可能性与布莱克对音乐的巨大热情相结合。科罗特坐着，摆着忧郁的姿势，手里拿着乐器，这给布莱克和毕加索都留下了深刻的印象。两位艺术家对十九世纪大师的刺激反应迅速，在1910年的头几个月，布莱克创作了几幅实验性绘画，在蒂森博内米萨博物馆用曼陀林和另一幅椭圆形画了现在的长方形女人，第一位立体派画家。以这种格式执行。大约在同一时期，毕加索生产了一个椭圆形的女人，带着曼陀林和一个带曼陀林（Fanny Tellier）的长方形女人。正如克里斯托弗·格林所指出的，在这两幅画布上的椭圆形画作中，十八世纪装饰画中典型的椭圆形图案在立体主义中得到了充分的体现。就像布莱克前一年画的静物一样，曼陀林的《女人》中的人物也崩溃了。以不同的成分，再次以新的排列方式连接在一起。在这种形式的碎片化阶段，艺术家采用了一系列狭窄的赭石、灰色和棕色。尽管调色板缩小了，布拉克还是运用了分裂主义手法，用小笔画和非常松弛、明亮的制作来达到许多绘画效果。背景和图像融合成一张由垂直和水平线组成的网，形成一个由相互贯穿的小平面组成的空间连续体。一些碎片是可辨认的，如曼陀林和握住它的手，而其他的碎片，如头和肩，则被很好地整合到背景平面的抽象空间中，几乎看不见。F 1921德国商人Daniel Henry Kahnweiler没收的财产。几年后，它属于安德烈·列夫·维尔，他是二战期间立体主义最重要的收藏家。

Title:Woman with a Mandolin

artist:Georges Braque

Date:c.1910; France

Style:Analytical Cubism

Genre:genre painting

Media:oil,canvas

Tag:female-portraits

Dimensions:80.5 x 54 cm

Location:Thyssen-Bornemisza Museum, Madrid, Spain

Woman with a Mandolin was painted by Braque in the spring of 1910, during the phase of analytical Cubism, the initial stage in the movement. In it the artist returns to the human figure after devoting himself exclusively to landscape and still life for two years. Perhaps this return was prompted by the impression that viewing twenty-four of Camille Corot’s paintings at the Salon d’Automne of 1909 made on him. Corot showed him how the addition of a musical instrument infuses the person portrayed with the calm of a still life, and the allegorical and expressive possibilities of the theme were coupled with Braque’s great passion for music. Corot’s seated women in melancholic poses holding musical instruments impressed both Braque and Picasso, whose works display their mark. Both artists were quick to respond to the stimuli of the nineteenth-century master and during the first months of 1910 Braque made several experimental drawings and painted the present rectangular Woman with a Mandolin in the Museo Thyssen-Bornemisza and another in an oval shape, the first Cubist painting to be executed in that format. Around the same time Picasso produced an oval Woman with a Mandolin and a rectangular Woman with a Mandolin (Fanny Tellier). As Christopher Green points out, with these two oval paintings on canvas, the oval format — typical of eighteenth-century decorative painting — made its full appearance in Cubism.Like the still-life objects Braque had painted the previous year, the figure in Woman with a Mandolin breaks down into its different components, which are joined together again in a new arrangement. In this phase of the fragmentation of form, the artist employs a narrow range of ochres , greys and browns. Despite this reduced palette, Braque achieves many painterly effects using a Divisionist technique of small brushstrokes and a very loose and luminous facture. Background and figure fuse into a web of vertical and horizontal lines, into a spatial continuum composed of small, interpenetrating planes. Some fragments are recognizable , such as the mandolin and the hand that holds it, while others, such as the head and shoulders, are so well integrated into the abstract space of the background plane that they are barely discernible.Woman with a Mandolin was purchased by André Breton at the sale of the possessions confiscated from the German dealer Daniel-Henry Kahnweiler in 1921. Years later it belonged to André Lefèvre , the most important collector of Cubism in the interwar period.