保罗·凯恩全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-26
 弗兰西斯·卢西，一个克里混血向导 | - |
| 弗里曼·舍曼霍恩·克兰其 | Paul Kane painted this portrait of Freeman Clench as one of a pair, to be hung with the portrait of Freeman’s wife, Eliza Clench. These pendant portraits represent Kane’s initial plan for earning his living as an artist. They date from his two-year period in Cobourg, Ontario, when he took advantage of social connections to develop his skills in portraiture. He would have known the Clenches either through working for the Clench furniture business or through his contact with Wilson S. Conger, Kane’s former employer in Toronto who moved to Cobourg in 1829 and became a prominent citizen through his positions in municipal office.1 The paintings portray the Clenches as fashionably dressed, and Eliza’s gold locket and earrings are especially indicative of the family’s status. Kane’s society portraits from this period reflect a professional competence within a naive, linear style. While some sense of the individual sitters is discernible, the elongated necks, enhanced by the fashion of the period, and the patterning of hair and costume mimic a stylization typical of portraiture at the time. The plain background with a broad halo effect behind the head is a focusing device Kane would continue to use throughout his career. Although neither Clench portrait is signed (typical of Kane), they have been attributed to Kane based on the comparison of the pigments with the contents of his studio paint box,2 as well as on his close relationship with the Clench family. Both portraits were handed down through the family until their acquisition by the National Gallery of Canada in 1990. |
| 伊丽莎·克拉克·克里·克兰其 | - |
| 科堡的珂格夫人肖像 | - |
| 美洲原住民的营地 | - |
| 自画像 | - |
| 休伦湖 | - |
| 乔治·古尼特 | - |
| 庆典小屋的内部 | - |
| 在瀑布下方，有印度人钓鱼的哥伦比亚河 | - |
| 落基山脉的冬季景象 | - |
| 约翰·亨利·勒夫雷的肖像 | Scene in the Northwest—Portrait of John Henry Lefroy is unique in Kane’s oeuvre in that it embraces portraiture and landscape equally, both key genres for Kane. The scene depicts John Henry Lefroy, director of the Toronto Magnetic Observatory from 1841 to 1853, who wintered at Lake Athabasca during 1843–44 in his successful search for the magnetic north. In his autobiography Lefroy mentions how he was equipped for the winter with a “warm capote of thick white duffle, trimmed with red, and a blue hood,” and another in grey for his companion Corporal Henry. Lefroy also mentions by name the three-dog team (Papillon, Milord, and Cartouche) that returned him to the Mackenzie River in March 1844 and describes them as having bells and red collars. Only Lefroy would have known the details that appear in this painting, suggesting that he gave Kane art direction for the essential components of the portrait and that Kane’s painting of Lefroy in a northern landscape was the scientist’s personal commemoration of his achievement. This portrait, likely painted sometime between December 1845 and April 1846, gives us a glimpse of how Kane may have used his client connections to advance his career. In 1843 Lefroy had solicited approval from Sir George Simpson, governor of the Hudson’s Bay Company, for his own trek into the Northwest. In early 1846 Lefroy would in turn write a letter of support to Simpson on Kane’s behalf for the artist’s request for the same privilege. When the portrait was first exhibited in 1847 at the Toronto Society of Arts, its title, “Scene in the Northwest—Portrait,” focused on the locale rather than the identity of the person. Featuring the “white man” as explorer in Canada’s Northwest, the painting showcases a role that Kane was undertaking at that very moment. |
| 基-阿基-卡-萨-卡-哇 | In his field journal Kane records his encounter with the Cree chief Kee-akee-ka-saa-ka-wow on July 14, 1846, and elaborates that he “is the man that always speekes [speaks], the last” and he “dilliveres [delivers] his ordere in a low tone in his hert [heart].” This watercolour appears to have been executed fairly rapidly, with the chief’s chest and right arm brushed in with a few broad strokes. Kane focuses on the face, noting its variations in structure: the pronounced mouth area, the heavier lower lip, the slack skin of the cheeks as they start sliding into jowls, the lined forehead. Kee-akee-ka-saa-ka-wow’s lower jaw and his shifted glance are visually reinforced by red facial paint. The comparison between Kane’s watercolour Kee-akee-ka-saa-ka-wow, “The Man That Gives the War Whoop” and his later oil painting of the same subject is one of the most oft-cited examples of the extent to which Kane modified the essence of a sitter. In painting the oil, Kane transforms his subject into a man whose expression has been neutralized through elongation and even idealization of the features. Kee-akee-ka-saa-ka-wow, now set against a backdrop of a foreboding sky, looks beyond the viewer. All the accoutrements, all the markers of “Indianness”—the pipe stem, the fringed shirt, the roach headdress—are marshalled to communicate the gravitas that the original watercolour evokes through physiognomy alone. |
| 老考克斯，三维奇岛民 | - |
| 贾斯珀的房屋 | - |
| 扁平头女人 | - |
| 凯恩公牛 | - |
| 法兰西河急流 | - |
| 埃德蒙顿堡 | If Kane’s documentary impulses were satisfied by drawing from nature freely, or by using a camera lucida, the popularity of the picturesque would nevertheless have encouraged him to approach and view the empirical world in a certain way. Fort Edmonton demonstrates Kane’s use of the picturesque style in which elevated viewpoints and sinuous land formations allow the viewer to “travel” through the image.Paul Sandby, Harlech Castle in Merioneth Shire with Snowdon at a Distance, 1776, etching and aquatint in sanguine on ivory laid paper, 23.9 x 31.5 cm (plate); 32 x 46.3 cm (sheet), National Library of Wales, Aberystwyth. Sandby (1731–1809) was a well-known practitioner of the picturesque style in England Although Kane spent extended periods at Hudson’s Bay Company (HBC) posts, there are no pictorial records of the interior of the forts. As the art historian J. Russell Harper notes, the artist’s panoramic views of the company’s presence in the landscape reinforce the sense of its empire. With its palisades and corner towers, and its situation on a promontory overlooking the North Saskatchewan River, Fort Edmonton must have seemed to Kane the New World equivalent to an Old World castle such as Harlech in North Wales, which is similarly situated on a rock overlooking water. Kane in his early days had copied a print (as yet unidentified) of Harlech Castle. Kane made two pencil sketches of the fort as seen from a distance: one from the southeast and one from the south. For this oil painting, Kane chose the view from the south, in which the fort is approached by a path running alongside the river. Here Kane was confronted by a scene with two parallel foci: the river extending into the distance on the left and the path culminating in the fort on the right. Kane’s challenge was to resolve the split focus into a picturesque view. This he did by incorporating clouds into the upper left quadrant to create a sweeping “S” that moves the viewer’s eye across the foreground, onto the promontory, creating contact with the horizon and into the sky and distance. Current understandings of the picturesque often situate it within the framework of an imperialist ideology. If Fort Edmonton is looked at through this lens, then Kane’s recognition of the economic relationship between empire and colony can also be seen in his inclusion of the fort, the teepees, and the river that was so important to the fur trade—elements included in both his sketches and his preparatory drawings. |
| 休伦湖上的印第安营地 | - |
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