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推 rickshiu:雖然我不是....可是瞬間變成英文補考幫.... 01/01 23:10
※ 引述《EvenStar (BeSomebody)》之銘言：
: 保存ryder的作品向來是保存工作人員的惡夢,並且是一場必輸的戰爭.其作品80年前受美國當時的前衛人士所大為讚頌的氣氛,以及對於光輝運用的微妙,現今可能只能透過空想與思念方能呈現,因為現在已經經年累月的作品已經看不到這些了.
: 雖然他運用的色彩豐富,他作畫的力道卻相當微弱,而依照慣例來講,這是ryder的好運,因為透過這樣的呈現,他自然且由肉眼所捕捉的意境方能呈現,不至於墨守成規,然而事實上,他所描繪的人物和動物卻並沒有因此受惠,我對於解剖學的專研讓我認為他從未觀察或剖析他畫中身體的結構
: 翻的不算很好 哈因為有點趕 如果是要報告的話
: 可以改的在嚴謹一點
你真的超酷
我覺得這已經棒到不能再棒了
幾乎沒有英文用語的影子耶
我完全誤會他的意思＠＠
那底下這些可以再幫我一下嗎? 感激
As the saint of Greenwich Village he attracted acolytes, who tended to be
artists of a religious bent who felt the pangs of spiritual inadequacy and
were looking for father figures. One such man was Kenneth Hayes Miller
(1876-1952), in his youth a symbolist whose wistful, indeterminate figures
owed much to Ryder. It seems that Ryder reminded Miller of his father, an
elder in one of the odd mystical sects that flourished in America - the
Oneida community in upstate New York. Miller left Oneida to study art in
New York; in doing so he took on a load of apostasy guilt which he could
only assuage by convincing himself of a duty to minister to the peevish
and aging Ryder, his second father. (He also had the bad luck to marry a
young Oneida woman who, after the wedding, announced that she was renouncing
sex as a drag on her spiritual growth.) Small wonder that, when Ryder died,
Miller declared that "I have never enjoyed New York so much, nor sensed it
as richly as I do now." Relieved, he embraced the world and its pomps by
painting groups of buxom women shoppers in cinquecento poses, trying on
clothes in department store changerooms. This peculiar form of social realism
had a great effect on his students Reginald Marsh and Isabel Bishop.
The idea of Ryder as secular saint was scripted into the very fabric of the
Armory Show by Walt Kuhn and Arthur Davies. For Kuhn, there was "only Ryder
in American painting." Davies had long concurred: his paintings faithfully
echoed Ryder's storybook fantasies, with their enchanted groves and maidens
and Siegfrieds. Ryder was the sole painter who, in their view, could make up
for the dispiriting absence of a great national school of American art in the
early twentieth century. Others, including some conservatives, also agreed:
the critic Frank Jewett Mather, for instance, considered that Ryder and the
tragic nineteenth-century romantic Ralph Blakelock were "the most American
artists we have. Neither their minds nor their methods betray any alien tinge."
If Ryder was truly a naif, a visionary, then there had to be some original
current in America to which he had connected: a natural and instinctive
vision, a sort of cultural birdsong, not imported from Europe. There were
problems with this, since Ryder's own pictorial god was the French
landscapist Jean Baptiste Camille Corot, and his themes (except for the
"marines") were all drawn out of transatlantic literary and musical sources.
Still, needing a sign of American parity, Davies made sure that Ryder was the
only American to share the central space of the display with the European
masters: Matisse, Cezanne, Gauguin, van Gogh. This endorsement (which no
curator, one suspects, would make today) had something messianic and hopeful
about it, but it also signaled a grave underlying pessimism. Dozens of America
proto-modernists after 1900 had been imitating Ryder's moons and seas and
forests, But did that make them truly "American," whatever that word, in the
context of a modernist idiom, meant?
好像太多了 Orz
沒空沒關係～～
可以的話再幫我翻吧 有多少算多少
謝謝 Or2
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