简介
保罗·凯恩(PaulKane,1810年9月3日-1871年2月20日),爱尔兰裔加拿大画家,他的画作以描绘加拿大西部和美国西北部的印第安人而闻名于世。凯恩在多伦多(当时称为约克)长大,自学成才,通过游学欧洲临摹欧洲大师的作品来学习绘画技巧。他两次前往加拿大荒凉的西北部旅行写生。第一次是1845年,从多伦多到苏圣玛丽。他的第二次旅行得到了哈德逊湾公司的资助,因此时间也更长些,从1846年一直到1848年,从多伦多穿过洛矶山脉到达俄勒冈区的温哥华堡和维多利亚堡。在两次旅行中,凯恩画了大量当地土著居民的写生,并记录了他们的生活。返回多伦多后,凯恩根据他的写生创作了一百多幅油画。他的作品,尤其是写生,如今依然是研究民族学的宝贵资料。
影视作品
Cunnawa-bum
OutofthecycleofonehundredpaintingsthatKanecreated,itisthisone,Cunnawa-bum,thatisusedasthefrontispieceinhisbookWanderingsofanArtistamongtheIndiansofNorthAmerica.AlthoughtheimageoftheyoungMetiswomanofPlainsCreeandBritishancestryfeaturedinthebookisonlyoneofnumerousportraitsinthepaintedcycle,asfrontispieceshebecomesasortofcovergirlforKane’slifeproject.WanderingsofanArtistrecountshowtheyoungwoman,whomKanemetatFortEdmonton,heldherswan’s-wingfan“inamostcoquettishmanner”andthatitwashercharmthatinspiredKane.NopreliminaryportraitsketchordrawingexistsofCunnawa-bum.Kanedevelopedhisgeneralconceptforafanportraitthroughseveralschematicdrawingsofafigureholdingafan,sometimeswithinanoval.Oneofthesedrawingsisaprofileofa“flathead”woman;nonearearticulatedwithfeaturesthatsuggestanindividual.InthepaintingtheawkwardlydisembodiedarmimplicitlysuggeststhatKane’sfocuswasthebeguilingfan,underlinedbyitstrompel’oeilnudgeintotheviewer’sspace.Thisstrangelygenericaspectoftheportrait,despiteitsconnectiontoanindividual,iscarriedoverintoitslifeasthechromolithographfrontispiecetoWanderingsofanArtistwhereitstitlebecomestheanonymousPortraitofaHalf-BreedCreeGirl.AccordingtotheethnologistDanielWilson(1816–1892),afriendofKane’swhoreviewedWanderingsofanArtist,theoilcapturestheracialdualityofthesitter;WilsonwritesthatKane’spainting“presentsanexceedinglyinterestingillustrationoftheblendingofthewhiteandIndianfeaturesinthefemaleHalf-breed.”Wilsoniscriticizingtheworkofthechromolithographer,VincentBrooks,whohad“sacrificedeverytraceofIndianfeaturesinhisdesiretoproducehisownidealofaprettyface,suchasmightequallywellhavebeencopiedforanordinarywaxdoll.”Fortheartist,ethnographer,andlithographer,respectively,theessenceofCunnawa-bum’scharmwaspresentedasafan,inheridentityasahalf-breed,andasawaxdoll.ItisperhapsinCunnawa-bum’sbestinterestthatmodernviewersshiftthefocustothemeaningofhername—“OneThatLooksattheStars”—asawaytosubvertthenineteenth-centurymalegazeandrecognizeherasempowered.
永恒的天空,索尔托人
TheConstantSkyprojectsthequintessentialRomanticidealthatequatespristinenaturewith“primitiveman.”AnAboriginalwoman,TheConstantSky,sittingonananimalskin,leansagainstatreetrunk,herchildbyherside.Themassivetree,withitsintertwiningbranches,vines,andprotectiveleafcanopy,suggestsanancientandunspoiledlandscape.Itisanidylliclocale,whereamirror-likeriverandthemodestwaterfallsuggestthecalmandcomfortingsoundsofnaturethatreassureTheConstantSkyofherwayoflife.ForalltheassumptionsmadeduringKane’stimeabouttheAboriginalpeoplebeinga“vanishingrace,”onewondersifKane’simageismeanttobeanaffirmationofthepermanenceoftheAboriginalpresence.Seenfromanineteenth-centuryperspective,theearlymorninglightinthispaintingalludestothefuture,underscoringtheideaofcontinuitythatisimplicitinboththewoman’snameandthepresenceofthechild.Kanemayhavedrawnonseveraldifferentpersonalexperiencestocreatethispainting;heapparentlyreliedonsketchesoflandscapes,figures,andculturalobjectsfromdifferentregionsandtribes.UltimatelyKane’srandomborrowingfromhisownfieldsketchesismoot,ashisgoalwastotranscendtheparticularandcaptureanessentialmoraltruth.Kane’sArcadianlandscape,framedbyapainted,decorativearchofgold,offersameditationontheidealcommunionbetweenhumankindandnature,whichatthetimewasthoughttobemanifestinthelivesoftheAboriginalpeople.
医药管茎舞
PreviousresearchhasassumedthatKane’sworksonpaperweresketchedfromlife.However,thisoilonpaper,MedicinePipeStemDance,waslikelypaintedbyKaneaftertheevent,asastudyforthelateroilpainting.Itlackstheimmediacyofasketchdrawnfromlife.Kanemakesnoreferenceinhisfieldjournaltothepipestemdance;ifwearetobelievehisbookWanderingsofanArtistamongtheIndiansofNorthAmerica,theBlackfootceremonytookplaceintheafternoonandincludedKaneasoneoftheobserversinthecircleofseatedmen.(Hewasinvitedtotheceremony,asartist,to“addmagicalpowersinincreasingitsefficacy.”1)Thestudyspotlightsthetwodancers,andthevantagepointiselevated,givingamoreexpansiveviewofdancers,spectators,andlandscape.Kane’sdepictionofthepipestemssuggeststheywereinspiredbyhisdrawingsofindividualculturalobjectsratherthanbyexperience.InthispaintingKanehaschosentodepictapipestemfromtheveryenemynation(PlainsCree)thattheBlackfootwerepreparingtoengageinbattle.2ThisseeminginconsistencymaywellunderlineKane’sconstructedapproachtothiswork.TheoilpaintingbasedonthestudywasanearlycreationinKane’scycleofonehundredpaintings.Thecanvaswasoneofeight“Indianpictures”KaneexhibitedattheUpperCanadaProvincialExhibitionof1852inBrockville.OnepressaccountincludesalengthyentryonMedicinePipeStemDance,referringtothe“extracts,whichwesubjoinfromMrKane’sjournal”asawayto“fullyexplainthepictureandsuperstitionsattachedtotheceremonial.”3Theentryreadslikeadetailedethnologicalexplanation,unlikethecomparativelybriefaccountinWanderingsofanArtist.ThatKanedidnotmakeevenabriefreferenceinhisjournaltohisinvitationtothissacredevent,combinedwiththedetailedethnologicaldescriptioninthepressreview,suggeststhatMedicinePipeStemDance(boththestudyandtheoilpainting)mayrelymoreondescriptionsthatKanereadthanonhisownexperience.
大蛇,黑足印第安人长,向五位下属酋长讲述他的战争
印第安人剥下敌人头皮的舞蹈
卡卡巴卡瀑布
TheCackabakahFalls1isasuperbexampleofKane’sembraceofthesublime.InportrayingKakabekaFalls,theartisthaschosenashissubjectoneofthenaturalwondersalongtheHudson’sBayCompany(HBC)voyageurroute.Hisdepictionofthesefallsasafearsomeforceofnatureisintendedtoinspireandoverwhelmtheviewer,whiletheforegroundwedgeoflandoffersastableviewatasafedistance.Anillustrationofanartistusingacameralucida,fromtheDictionnaireencyclopédiqueetbiographiquedel'industrieetdesartsindustriels(1882)KanewasbutapassengerwhentravellingwiththeHBCbrigades,andwhilethemenportaged,hewouldsketch.Inexecutinghisearlierdrawingofthisparticularview,KakabekaFalls,1846,Kaneappearstohavebeenaidedbyanopticalinstrument.Theprecisearticulationofoutlineanddetailsofthe“tower”inthemiddle,andtheheavierpenciltracingthefoliageandrocksintheforeground,suggestKaneusedadevicecalledacameralucida.Intranslatinghislinearrenditionintoanoilpainting,Kanecreatedaspectacularvisionofthesublime.Lightglancesoffthemassivesheetsoffallingwater,reflectsoffthehorizontalstriationsofthechert2rock,andvieswiththestormcloudforsupremacy.ThediminutiveAboriginalfiguresontheriverbankareatypicalRomanticdeviceusedtoprovidescaleandemphasizetheimmensityofthisnaturalwonder—and,byprojection,Kane’sownexperience.Kanemakesnomentionofthefallsbynameinhisfieldjournal,nordoesheindicatehisresponsetotheview;hesimplynotesthathemadesketchesoftwoportagesalongthislegofhisjourney.3ItisasthoughKanereliesonhisdrawingtoaccuratelyrecordhisexperienceandhispaintingtoemotionallyexpressit.
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2023
2023-07
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