弗洛伊德、培根等英国艺术家新展亮相泰特美术馆

New exhibitions of British artists such as Freud and Bacon unveiled at the Tate Gallery

    我本以为，泰特美术馆新展吸引我的是大卫·邦伯格迷人的风景画或是弗朗西斯·培根笔下的教皇，但事实上是一只乳房。在卢西恩·弗洛伊德早期的作品《带着白狗的女子》中，他的第一任妻子凯迪·加曼（Kitty Garman）穿着石灰绿的长袍，旁边一只盛气凌人的白狗躺在她的大腿边。一只乳房裸露，另一只藏在柔软的长袍中。不知怎的，我看着这幅画的时候，感受到了一颗跳动的心和生命的脉搏。弗洛伊德和卡拉瓦乔一样，作品都传递出一种真实与不安所带来的视觉冲击力，让观众觉得看的不是艺术，是生活。

　　他后来的作品越发真切。20世纪90年代，弗洛伊德里程碑式的作品以两位大块头的人物为原型，分别是行为艺术家雷·布尔里(Leigh Bowery)和英国卫生和社会事务部官员苏·迪里(Sue Tilley)。策展人选了两幅同是熟睡的画：迪里睡在椅子上，布尔里倚在肩上。这些画如此真切，就像从镜中看到自己的脸一样真实。

　　第一眼看到保拉·雷戈1988年的《家》，以为展现的是对父权的奇怪抨击，一对母女在卧室殴打父亲。事实上是爱和怜悯的诠释。当时，雷戈的丈夫因多发性硬化症奄奄一息，她和女儿在帮助他而不是折磨他。他们承受着无尽的痛苦。

　　迈克尔·安德鲁斯《梅拉尼和我在游泳》作品中，一位父亲在黑池中帮着女儿学游泳，周围是坚硬的岩石。纯粹无防卫之心的人性是震撼的，尤其是看起来很脆弱的中年男子还要保护孩子。黑色的池水埋葬了他们漂浮的身体，就像允诺的天谴。

　　弗兰克·奥尔巴赫（Auerbach Frank）和莱昂·科索夫（Leon Kossoff）的画也充满了生命的严肃和重量。20世纪60年代早期他们的画作都带有泥土的气息。科索夫的《维多利亚街建筑工地》（1961年）展现了城市新鲜泥土之上血淋林的伤口。奥尔巴赫创作了Head of E.O.W. I (1960年)，黄色和红色的油漆绘出一张脸，充满了记忆的痕迹。

　　弗朗西斯·培根《对狒狒的研究》Study of a Baboon(1953年)，刻画了在隐隐约约的树影上一只龇牙咧嘴的狒狒。《伊萨贝尔的肖像》（1966年）展现了撕成碎片又重新凌乱拼在一起构成的一张脸。如果这看起来似乎过于暴力，那绝不要看他的《三联画》（Triptych, 1974-77），画面描述的是无头的幽灵在空旷的海滩上慢慢腐烂。培根在这些疯狂的幽灵之中哭泣，哀悼他的爱人乔治·戴尔（George Dyer）。

    真正意义上的艺术作品在于它们传达出的人性、勇气、情感、真理。科索夫、奥尔巴赫、雷戈、安德鲁斯、培根、弗洛伊德，这些人让艺术变得博大精深，他们是现代英国艺术真正的英雄。

　　“人性的诠释：培根、弗洛伊德与一个世纪的绘画”于2018年2月28日至8月27日在泰特美术

  来源：中国社会科学网

New exhibitions of British artists such as Freud and Bacon unveiled at the Tate Gallery

   I thought that the new exhibition at the Tate Art Gallery attracted me to the fascinating landscape of David Bongberg or the pope written by Francis Bacon, but in reality it was a breast. In Lucien Freud's early work, The Woman with a White Dog, his first wife, Kitty Garman, was dressed in a lime green robe and was lying next to an impudent white dog. Thigh side. One breast is bare and the other is hidden in a soft robe. Somehow, when I looked at this picture, I felt a beaten heart and the pulse of life. Like Freud and Caravaggio, the works conveyed a visual impact of truth and uncertainty, which made the audience feel that it was not art and life.

   His later works became more and more true. In the 1990s, Freud's landmark works were modeled on two large figures: performance artist Leigh Bowery and British Health and Social Affairs Officer Sue Tilley. . The curator chose two paintings that were asleep: Dili slept on a chair and Burry leaned over his shoulder. These paintings are so real, as true as seeing their faces in the mirror.

   At first glance, Paula Rego's "Home" in 1988 was thought to show a strange attack on fatherhood, a mother and daughter beating his father in the bedroom. In fact, it is the interpretation of love and compassion. At the time, Rego's husband was dying of multiple sclerosis, and she and her daughter helped him instead of harassing him. They suffer endless pain.

   In the work by Michael Andrews "Melanie and I Are Swimming", a father helped her daughter learn to swim in the black pool, surrounded by hard rocks. The purely defenseless human nature is shocking, especially the middle-aged men who seem to be very vulnerable to protect their children. The black pool water buried their floating bodies like a promised scourge.

   The paintings of Auerbach Frank and Leon Kossoff are also filled with the seriousness and weight of life. In the early 1960s, their paintings were filled with earthy atmosphere. Kosoff's "Victoria Street Building Site" (1961) demonstrated the wounds of the city's fresh soil on top of the blood forest. Auerbach created the Head of E.O.W. I (1960). The yellow and red paint painted a face, full of memory traces.

   Francis Bacon Study of a Baboon (1953) portrayed a sly grin on a shadowy tree. "Isabel's Portrait" (1966) shows a face that was shredded and cluttered again. If this appears to be too violent, it must not be seen in his Triptych (1974-77). The picture depicts the headless ghost rot on an empty beach. Bacon cries among these crazy ghosts and mourns his lover, George Dyer.

    The true artistic works lie in the humanity, courage, emotion, and truth they convey. Kosoff, Auerbach, Rego, Andrews, Bacon, Freud, these people make the art become profound, they are the real hero of modern British art.

   "Interpretation of Human Nature: Bacon, Freud, and a Century of Painting" at Tate Fine Arts from February 28 to August 27, 2018

  Source: China Social Sciences Network