抽象肖像画鉴赏分析英文原创.docx

抽象肖像画鉴赏分析英文原创.docx

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抽象肖像画鉴赏分析英文原创

AbstractPortraits

1.Introduction

Abstractpaintingreferstoaartisticstylewhichgetsridofimitatingthenature.Abstractpainingemergedintheearly1900sandsoonbecamethemostpopularanddistinctiveartisticstyleinthe20thcentury（Galenson,2009）.Scholarsgenerallyclassifyabstractpaintingintotwocategories.OneisthegeometricalabstractionorcoldabstractionstartedfromCezanne’stheoryanddevelopedbyCubism,Constructionism,Neo-plasticismetc.;theothercategoryishotabstraction,whichstartedfromGauguin’sartisticconcept,anddevelopedthroughFauvismandExpressionism,andhascertaintendencyofRomanticism（Galenson,2009）.

Nomatterfromschoolofabstractpaining,peopleisalwaysoneofthemainthemes.Anyabstractportraitcontainsuniqueaestheticconceptandspiritualvalueofartists,aswellastheexpressionofhumansoul.Thispaperaimsatanalyzingartisticfeaturesandspiritualconnotationofabstractportraitsinthe20thcenturywithportraitexamplesofthreeimportantartists:

PabloPicasso,WillemDeKooningandInkaEssenhigh.

2.Picasso’sTheYoungLadiesofAvignonandKasiweile

Createdin1907byPabloPicasso,TheYoungLadiesofAvignon（LesDemoisellesd'Avignon）,1907wasregardedasthefirstcubistwork（Gikandi,2003）.Inthenextafewyears,thispaintingevenmadeFrenchcubistartgainunprecedenteddevelopment,eventriggermuchresonanceinthefieldsofmusic,literature,stagedesignanddance.

TheYoungLadiesofAvignon,oiloncanvas,PabloPicasso,1907

TheYoungLadiesofAvignoncreatedanewsituationofFrenchcubism,thusPicassoalsobecameainfluentialartistofthispaintingschool.Inthepast,artistsusuallysawpeoplefromjustoneangle,sowhattheypaintedwerejustonesideofathree-dimensionalform.However,cubismusedabrandnewmethodtoshowthings.Exceptforthefrontside,Cubistartistsobservedfromseveralangles,andpresentedallthesesidesinthewayofoverlayingorparalleling（Gikandi,2003）.InTheYoungLadiesofAvignon,colorsoffivenakedwomenaresetoffbythebluebackground,thebackgroundwasalsodividedrandomly.Thereisnosenseofdistance,andfiguresarecombinedbyvariantgeometricalshapes.Forexample,thewomansittingontherightiswearingamask,whensheisturningaround,herfaceisveryhorrible,justlikeaghostfromthehellwiththecolorofaroastsucklingpig.Thewomanatthefarleftisopeninganochreouscurtain,inordertoshowhersisters’rhombicbodies.HerseriousexpressionandsideoutlinearealmostlikeancientEgyptianwallpainting.

Obviously,Picassoabandonedrealistdepictionofhumanbody,butmadeuseofallkindsofgeometricalplanestoconstitutehumanbodies.Atthetime,thiswasablasphemytodivinities.Meanwhile,thepaintingabolishedtraditionalrepresentationofdistance,buttransferredallthree-dimensionalelementsintotwo-dimensionalones.ThispaintingreflectsCezanne’stheoryandalsoabsorbsachievementsofAfricansculpturalart（Gikandi,2003）.Theenhancedtransformationofbodyshapeactuallyaddspowerofexpressionandattractiveness.

Kasiweile（1910）isanabstractportraitofPicasso’sanalyticalcubismperiod（1909-1911）,whichfurthershowshisignoranceofobjectiverepresentation（Penrose,1981）.ThispaintingvividlyshowsthathowPicassoappliedpaintinglanguageofanalyticalcubismintothecreationofaconcretefigure（Penrose,1981）.However,itisconfusingthatinsuchabstractdepictionofdividingimagesandabandoningcolors,Picassowasalwaysunwillingtogiveupreferencetorealmodels.Inordertocreatethispainting,helethisfriendMr.Kasiweiletositinfronthimfor12times.Henervergottiredtodividingstructures,inordertogainakindofstructureformedbymultiplelayersofsemitransparentcolorblocks.Asforcoloruse,thereareonlyblue,ochreandgrayishpurpleinthisportrait,colorjustplaysasubordinaterole.ThoughoutlineofMrKasiweileispartlyvisibleamongthecombinationsoflinesandplanes,itishardforviewerstojudgethesimilaritywiththerealperson.However,thispaintingbringspeoplenumerousimagination.Promotedbythisabstractbutharmoniouspaintingmethod,peoplecandelightedlymakestheirownexplanations.

Kasiweile,oiloncanvas,PabloPicasso,1910

3.DeKooning’sExcavationandWomanI

Dutch-AmericanWillemDeKooningwasoneoftherepresentativeartistsofabstractexpressionism.Duringhispaintingcareer,humanbodywasthemainthemeofhisabstractcreation.HeinnovativelyinvolvedEuropeancubism,surrealismandexpressionismintohispowerfulpaintingbehavior（Stevensetal,2004）.FromDeKonning’sartisticworld,conceptsofradicalartareexpressedthroughextremepaintings.Meanwhile,hispaintingsalsohaveaestheticbeautyandcanalwayswakeupakindofinnerassociationbetweenpeopleandalltheotherlivingcreations.

DeKonningiswellknownforpaintingwomenbodies.Heusedakindofstrongoutlinetocreatefemalebodies.Inhisbodythemes,thereareusuallyswellingpartslikethethighandbendingpartsliketheelbow,whichimplythetightfrictionofmuscles.InExcavation（1950）,DeKonningfocusedonhisresearchonPicassoandthecubistshallowdepictionofspace.ThoughDeKonning’sstyleismuchdifferentfromPicasso’s,thecubiststructurestillexistsinExcavation.Humanbodiesarefullofthepicture,howevertheoverallcompositionisnotmessyatall.Inaddition,inhisabstractportraits,heusedfreestrokesandexpressionistpaintingmethodsgavehimhugepressureandpersuasiveness（Stevensetal,2004）.

Excavation,oiloncanvas,WillemDeKooning,1950.

http:

//www.artic.edu/aic/collections/artwork/76244

Asforartisticcreationofwomenbodies,manyartistshadexperienced.Forexample,Raphaeldrewaseriesofholybutapproachablegoddess,Vermeercreatedmanygentleandquietruralwomen.However,withtheinfluenceofcubism,surrealismandprimitivism,femaleimagescreatedbyDeKonningareabsolutelyavisualrevolutionofhabitualthinking.Forexample,inWomen

（1950-1952）,thewomanisnotlongerinabeautifulorelegantsituation,itbecomesverywildandrestless.IntheWomanseries,differentwomenimagespresenthisreflectionontheform.Itcanbeseenthatentireformsandstructuresarereplacedbydividedshapes,plustheboldandunrestrainedstrokesandmassivecolorpiles,itseemsthathewantedtoshowtheextrememesstotheaudience.Meanwhile,theseabstractportraitsalsocontainacertainkindofprimitiveness.Maybeitisbecauseofreproductionworshiporjusthighlightingfemales’sexualimage,thesewomenbodieslooklikemodificationsofprimitivetotems（DeKooningetal,1994）.Moreover,thesewomenhavefrighteningappearances,titappearsthatawaveofangerwillimmediatelygooutoftheirbodies.Randomlinesandstructuresformakindofuncontrollableturmoil,maybesuchcoarseimagesindicateDeKonning’saversiontowomen（Galenson,2009）.

WomanI,oiloncanvas,WillemDeKonning,1950-52

Heusedwildanddisorderstrokestodepictallkindsofsymbolicsexualmovementsofwomencontainingsatireaswellassexualinsinuation.Therefore,accordingtotheseuglyandwieldwomenportraits,somecriticspointedoutthatDeKonningmightbeinfectedbyMunch’sabnormalmindanddeliberatelyhighlightedthatwomenwerevampires（Stevensetal,2004）.

4.Essenhigh’sPowerPartyandShopping

ContemporaryAmericanartistInkaEssenhighiswell-knownforherabstractexpressionistpaintings.Sincethelate1980sandtheearly1990s,dependingontheartworkswithcomic-likeimaginationandexaggerateddetails,sheemergedinNewYorkartcircleandsoontriggeredattentionfrominternationalartcircles（Clearwater&Essenhigh,2003）.Comicandcartoonshavebecomeanimportantpartinyoungpeople’sdailylife,thussomeartistscombineditwithtraditionalfinearttocreateanewstyle（Marcoci,2007）.Essenhighisjustarepresentativeartistwhoabsorbednutrientofthisnewstyle.

Herportraitworksbetween2003and2005haveverytypicalpersonalcharacteristics.Thesepaintingsarefilledwithdramaticdistortedeffect,humanbodiesarepresentedinallkindsoftwisted,transmutativeandridiculousconditions.Thesebodiesareusuallylikemollushesordoughswithstrongplasticity.Theyarerandomlypulledandpushed,thuscreatecurvinganddynamicstructures,makingpaintingspresentanunstablesituation.Inordertohighlightcontrast,sheadoptedregulargeometricshapesinthebackgroundtosetoffdynamichumanbodiesinthefront.Betweenthedynamicandstaticdetails,aphantasmicexoticworldiscreated.Inadditiontothat,purecolors,thinandsmoothlayersformaverystrongandrefreshedstyle,leavingviewersaveryunforgettableimpression.

PowerParty,oiloncanvas,InkaEssenhigh,2003

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Shopping,oilonlinen,InkaEssenhigh,2005

InPowerParty（2003）,manyclustersofpeopletanglewitheachother,butthegreyish-greenartificiallightandopenskyscrapersexpressafeelingofloneliness.InShopping（2005）,severalpeopleinsportsweararepickingfillets,whiletheirshoppingcartsaresilentlyslidingonthesmoothcementground,whichcreatesaboringandrelentlesslyplace.Thepurecolorsanddrearylustereffectofthepaintingbringaudienceanextremelyillusoryeffect,themovingbodycurvesshowakindofBa