特里·佛洛斯特认领

0获赞0粉丝0关注

特里·弗罗斯特（Terry Frost）爵士是一位英国抽象艺术家，出生于利明顿矿泉市，曾在康沃尔郡的纽林工作。弗罗斯特因使用康沃尔灯，在英格兰开始新的

简介

特里·弗罗斯特（TerryFrost）爵士是一位英国抽象艺术家，出生于利明顿矿泉市，曾在康沃尔郡的纽林工作。弗罗斯特因使用康沃尔灯，在英格兰开始新的艺术运动而闻名。他成为抽象艺术的主要代表，并成为英国艺术机构的公认人物。在第二次世界大战期间，他在加入突击队之前曾在法国，中东和希腊服役。战争一结束，弗罗斯特就去了伯明翰艺术学院。弗罗斯特的学术生涯包括在巴斯艺术学院，考文垂艺术学院任教，并在赫伯特·瑞德的推荐下被任命为利兹大学的绘画格雷戈里研究员。1960年，弗罗斯特在纽约的芭芭拉谢弗协会举办了他在美国的第一次展览。在那里，他遇到了许多美国抽象表现主义者。1965年特里·弗罗斯特获约翰·摩尔奖。1992年，他当选为皇家院士，并于1998年被封为爵士。他的作品回顾展于2000年成功开展。

影视作品

骑士之歌

FrostwasamajorfigureinthesecondgenerationofStIvesartists.Althoughheisprimarilyknownasanabstractpainter,printmakingwasamajorpartofhisartisticoutputthroughouthiscareer.TheprintsintheseriesElevenPoemsbyFedericoGarciaLorcawereproducedtoaccompanyasuiteofpoemsbySpanishpoetanddramatistFedericoGarcíaLorca(1898-1936)printedintheoriginalSpanishandinEnglishtranslation.WorkonFrost’scolourintaglioprintsinthisserieswasoverseenfirstbypainterandgraphicdesignerGordonHouseandthenbyprintmakerHughStoneman.ThepoemsandprintswerepublishedbyAustin/DesmondContemporaryBooks,Londonin1989inasolanderboxdesignedbytheartist.Intheboxeachprintrestsinsideapaperfolderonwhichtherespectivepoemisprinted.InadditionFrostdecoratedtheexterioroftheboxanddesignedatitlepagefortheportfolio.Thesuitewasproducedinaneditionofseventy-fiveplusfifteenartist’scopies;Tate’scopyisthefourthoftenartist’sproofs.WidelyregardedasoneofSpain’sgreatestwriters,Lorcawaskilledbypro-FrancoforcesintheearlydaysoftheSpanishCivilWar.Alongwithhisliteraryachievementshisearlydeathsealedhisposthumousreputationasapoliticalmartyr.FrostbeganreadingLorca’spoetryindepthinthe1970sandwasinspiredbythepoet’svisualimagery,particularlyhisemotivedescriptionsofcolour.Theartist’sfirstprintmadeinresponsetoaLorcapoemwasa1974screenprintentitledVariations.Inthelate1980sFrostobtainedcopyrighttoEnglishtranslationsofseveralofLorca’spoemsandbeganworkontheimagesinthisportfolio.Recallingthisperiodofhislife,Frostproclaimedhisadmirationforthepoet,saying,‘Lorcaissosimple,andsodirect,andsofullofcolourandideas.Iwassomuchinlovewiththepoetryatthattime’(quotedinTerryFrost:SixDecades,p.69).ThebackgroundofRider'sSongfeaturesalargediamondshape.Thecentralpartofthediamondisuncolouredexceptforthefaintoutlineofdiagonallines;theouterpartoftheimageiscomposedofstreakedmarksofblue-grey.Fourroundshapesarepositionednearthefourcornersoftheprint.Thecirclesinthetoprightandbottomleftaredensemattblack.Theroundforminthetopleftisrenderedinthesamegrisaillemarkingsasthebackgroundwithanoverlaidblackcrescent.Atthebottomrightisamoreinformalshape.Theoutlineofacircleissuggestedwithathickblacklineandalongbrightredarc.Overlappingthisshapeaboveandtotherightisanotherloosecircularformingreyonwhichablackspiralappears.Theexpressivepoemonwhichtheprintisbaseddescribesarider’slonelyjourneythroughthenight:‘Blackpony,bigmoon,/andolivesinmysaddle-bag’.Frostdescribedhisexcitementattheselines,saying,‘Wellthatwasenoughforme.I’magreatblackolivefan–andinmysaddlebag!Ihadtodoit’(quotedinLindaSaunders,‘FrostandtheDuende’,TerryFrost,p.218).Thecirclesontheprintcanbeseentorepresentbotholivesandthemoonagainstthenightsky.ThisprintrelatesdirectlytoapaintingthatFrostmadeduringthesameperiod,BlackOlivesforLorca,1989(privatecollection;reproducedno.35incolourinTerryFrost:SixDecades).

于默奥

Etching133/4×101/4(348×256)onpaper163/4×113/4(399×299),printedbytheartistatUmeaSummerSchool,Sweden,noteditionedInscribed‘TerryFrost79’b.r.and‘UmeaA/P’Purchasedfromtheartist(Grant-in-Aid)1983‘Umea,Sweden’[P07987]wasmadeatUmeawhileFrostwasdirectingthesummerschoolthere.IthasgenerallybeenFrost'spracticetomakeprintswhenthefacilitieshavebeeneasilyavailabletohim.Thisprintdepictsthreecirclesinoutlineseparatedfromeachotherbytworoughlycutsquaresprintedindenseblack.Theconfigurationisarrangedverticallyand‘istodowiththesun’.Thisentryhasbeenapprovedbytheartist.

组合画

LikeRegButler,whoseworkhangsalongside,FrostwasoneofayounggenerationofBritishartistswhomReadhelpedtopromoteinthe1950s.ThisprintrelatestothepaintingbyFrost,alsointhisroom.

圣拉斐尔（科尔多瓦）

FrostwasamajorfigureinthesecondgenerationofStIvesartists.Althoughheisprimarilyknownasanabstractpainter,printmakingwasamajorpartofhisartisticoutputthroughouthiscareer.TheprintsintheseriesElevenPoemsbyFedericoGarciaLorcawereproducedtoaccompanyasuiteofpoemsbySpanishpoetanddramatistFedericoGarcíaLorca(1898-1936)printedintheoriginalSpanishandinEnglishtranslation.WorkonFrost’scolourintaglioprintsinthisserieswasoverseenfirstbypainterandgraphicdesignerGordonHouseandthenbyprintmakerHughStoneman.ThepoemsandprintswerepublishedbyAustin/DesmondContemporaryBooks,Londonin1989inasolanderboxdesignedbytheartist.Intheboxeachprintrestsinsideapaperfolderonwhichtherespectivepoemisprinted.InadditionFrostdecoratedtheexterioroftheboxanddesignedatitlepagefortheportfolio.Thesuitewasproducedinaneditionofseventy-fiveplusfifteenartist’scopies;Tate’scopyisthefourthoftenartist’sproofs.WidelyregardedasoneofSpain’sgreatestwriters,Lorcawaskilledbypro-FrancoforcesintheearlydaysoftheSpanishCivilWar.Alongwithhisliteraryachievementshisearlydeathsealedhisposthumousreputationasapoliticalmartyr.FrostbeganreadingLorca’spoetryindepthinthe1970sandwasinspiredbythepoet’svisualimagery,particularlyhisemotivedescriptionsofcolour.Theartist’sfirstprintmadeinresponsetoaLorcapoemwasa1974screen-printentitledVariations.Inthelate1980sFrostobtainedcopyrighttoEnglishtranslationsofseveralofLorca’spoemsandbeganworkontheimagesinthisportfolio.Recallingthisperiodofhislife,Frostproclaimedhisadmirationforthepoet,saying,‘Lorcaissosimple,andsodirect,andsofullofcolourandideas.Iwassomuchinlovewiththepoetryatthattime’(quotedinTerryFrost:SixDecades,p.69).Oneofthemorerepresentationalprintsintheseries,SaintRaphael(Cordoba)depictstwofish,onebrightblue,theotherinaslightlyglossyembossedoff-whitelikeapaleshadowofthefirst.Theyswiminwaterdenotedbythreehorizontalblacklinesevenlyspacedinthebottomhalfoftheprint.Abovethebluefishareblocksofverticallinesinblue,blackandpinkthatsuggestreedsorrushes.Ayellowcrescentmooninthetoprightcornerisreflectedjustabovethebluefish.ThevisualechoesintheprintrelatetothereflectedimageoftheAndaluciancityofCórdobainLorca’spoem:‘Onefishaloneinthewater:/twoCórdobasofbeauty./Onebrokeninspurtsofwater,/onedryinthehighheaven’.

1962年5月（住宿）

Thisisoneofaseriesoflacedworks,some,ashere,wherethelaceshavebeendrawnbytheartist,someusingactuallaces,threadedthroughthesurfaceofthecanvas.ThethemewasinspiredbyFrostseeinghiswifesittinginalacedupbikini.Hehassaidthatthispaintingalsoreferstohisgrandmother'soldfashionedstaysorcorsetsthathefrequentlyhelpedtolaceupasachild.Theartisthasdrawninaspineabovethelacedsection,indicatinghumananatomy.Hehassaidoftheselacedworksthatthelacingwasalsoadevicetotightentheformsinthepainting,'IrememberthinkingIwouldliketouseaspanner'.

树，树