艾琳·艾加-人物-轻识

简介

艾琳·艾加（英文：EileenAgar，1899年12月1日-1991年11月17日）是与超现实主义运动有关的英国画家和摄影师。艾加生于布宜诺斯艾利斯，父亲是苏格兰人，母亲是美国人，于1911年与家人搬到伦敦。1914年，第一次世界大战爆发，艾加被送到都铎堂。在肯特，音乐大师HoraceKesteven开始将她介绍给各种艺术家。通过Kesteven，琼脂遇到了查尔斯·西姆斯（CharlesSims），后者使她接触了保罗·纳什（PaulNash）的早期作品。1930年，艾加返回英国，并根据安德烈·布雷顿（AndréBreton）的超现实主义宣言绘画了她的第一幅超现实主义作品《飞天柱》。这幅画代表了古典世界与现代世界在一个十字路口的融合。第二次世界大战后，艾加开始了自己人生的新阶段，在1946年至1985年之间举办了近16个个展。到1960年代，她开始创作具有超现实主义元素的绘画。1988年，她出版了自传《看我的人生》。然后在1990年，她当选为皇家艺术学院会员。1991年11月17日，她去世于伦敦。

影视作品

收割者

EileenAgaroftenmadecollagesandinthispicturesheaddedaleaftoagouache.AsinherpaintingAutobiographyofanEmbryo,Agarwasexploringthethemesoflife,death,thepassingoftimeandseasonalcycles.Sheusesasingle,simpleimagetoencompassarangeofuniversalthemes.Althoughitlooksabstract,thecollageshowsamechanicalreapercuttingacroponafarm,ametaphorfortheendoflife.Shedescribedandexplainedthecollagein1978:"Theleafcamefroma'drygarden',abookIhavewhichdriesandpreservesleavespressedbetweenspecialpaper.Itwasdeadoriginallywhenusedforthecollage,butitwasoneImusthavepickedmyself.Thewholewatercolourwasintendedtosuggestasymbolicreaperwiththeflailingmovementofthescythe-likeconcentricforms.Thetitleindeedrelatestotime,theseasonsandespeciallydeaththeGreatReaper.Thedeadleafbeingthehubofthewhole.Timeisexpressedmoreespeciallybythelargeblacksun,whichatthebottomlefthandcornerissinking.Thelittletrianglesuggestsacountryroofandthetwoblackspotstwopeopleridingthemachine.Thereisalsotheoutlineofthebackofacow,withthesmallforelegsimplantedoneithersideofthestemoftheleaf."(Conversationof29July1978,quotedinIllustratedCatalogueofAcquisitions1976-78,p.27.Thepaintingismountedonbluepaperandtheframewasa'found'objectpaintedinsilverandgold.Althoughtheartistdeniedthattheframinghadany'specialsignificance'sheagreedthatthemountandframeworkwiththepaintingtoevokesecondaryassociations,forexampletheblueandgoldcanbelinkedtotheskyandthesun.Thepicturewasfirstexhibitedin1965whenMarlboroughFineArtreviewedtheavant-gardeofthe1930sintheexhibitionArtinBritain1930-1940.(ChloeJohnson)

海洋生物

Between1928-30EileenAgarlivedinPariswhereshemetMaxErnst(1891-1976),JoanMiró(1893-1983),andAndréBreton(1896-1966),amongothers.AlthoughheracquaintancewiththeleadingfiguresofEuropeanSurrealismmanifesteditselfintheSurrealiststrategiesapparentinherownworkduringthe1930s,shedidnotsubscribetotheradicalpoliticsofherEuropeancounterparts.In1936shewasinvitedbyHerbertReadandRolandPenrosetoexhibitworkattheInternationalSurrealistExhibitionattheNewBurlingtonGalleries,London.ThenotorietyoftheexhibitionraisedAgar'spublicprofileconsiderablyand,in1937,shewasoneofthefewartistsaskedtosubmitworkfortheFantasticArt,DadaandSurrealismexhibitionheldattheMuseumofModernArt,NewYork.Inthespringof1939Agarandherpartner,JosephBard,movedtothevicinityofToulonintheSouthofFrance.Accordingtotheartist,oneday,whilewatchingfishermenhaulintheirnetsatCarquieranne,asmallfishingportnearby,shenoticedaGreekamphorabrokenintotwopiecescaughtinoneofthenets.Thisamphora,whichsheacquiredfromthefisherman,formsthecentralelementofMarineObject.ShehadfoundthecrustaceansandflotsamappliedtotheamphoratwoyearsearlieronabeachnearMougins,Côted'Azur.Onthebaseoftheassemblageisaram'shornthatshehadpickedupinCumberland.DescribingthemakingofMarineObjectas'shortwork',Agaradded,'thoughittookmeandtheamphoraalongtimetoattemptsuchaconjunction!'(Agar,p.144).Agarhadcollectedseeminglyunremarkableephemerafoundontheseashoreandinvariouspublicationssincechildhood,butitwasonlyinthemid1930sthatshebegantoincorporatetheseobjectsintoherwork.ThesurrealistpracticeoftransformationoffoundobjectsthroughunexpectedjuxtapositionswasforAgar,likecollage,'aformofinspiredcorrection,adisplacementofthebanalbythefertileinterventionofchanceorcoincidence'(quotedinAgar,p.147).DiscussingtheephemeralityofherassemblagesandthoseofotherSurrealists,Agarcommentedthattheobjectshadbeenfound'atthebehestofchanceandwentthatwayalso'(Agar,p.140).WhilemanyofAgar'sassemblagesweremadeforaparticularevent,itisnotknownifMarineObjectwas.(TobyTreves)

时光轴

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