让·福特里耶全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-29
 静物：洋葱 | - |
| 静物：梨 | - |
| 紫罗兰脸庞 | - |
| 大野猪 | - |
| 黑色裸体 | - |
| 悲剧大头 | - |
| 身材修长的女士 | - |
| 沉睡的裸体 | - |
| 花束 | - |
| 艺人 | - |
| 白丁香 | - |
| 黑箭 | - |
| 净空 | One translation of Dépouille is “human remains.” This painting is from Jean Fautrier’s series Otages (or, “Hostages”), a response to the horrors inflicted by Nazi soldiers in German-occupied France during World War II. Born in Paris, Fautrier was educated in London but served in the French army during World War I. Returning to Paris in 1940 but unable to serve because of injuries sustained during that war, Fautrier was temporarily detained by the Gestapo because of his involvement in the resistance. He subsequently fled to a sanatorium in the Parisian suburb of Châtenay-Malabry, where he painted within earshot of the woods where German forces conducted massacres at night. The artist developed a technique of gluing layers of paper to canvas to create an absorbent skin-like surface on which he applied a thick impasto to render a form that may resemble a brutalized or half-buried head; in this way, Fautrier used relief painting to evoke the desecration of the body. |
| 塔拉布斯特先生 | - |
| 化妆师 | - |
| 组合 | - |
| 水果 | - |
| 环线 | - |
| 黑色背景人质 | Although he started his career in the 1920s by working in a relatively traditional, representational mode, Jean Fautrier did not reach artistic maturity until the mid-1940s, when he created his seminal Hostage paintings. These works—begun in 1943 when his studio was near a Nazi prison camp outside of Paris and he reputedly heard the cries of its victims—depict anonymous, abstracted heads, limbless torsos, and disembodied hands. With their crude, encrusted surfaces, built up through the use of a plasterlike paper pulp, the paintings were interpreted as emblems of the violence and decay of the Holocaust and also as a call to moral action in resistance. Their quasi-abstract, gestural nature also helped usher in a new movement known as Art informel (formless art), a European counterpart to Abstract Expressionism in the late 1940s and 1950s.Fautrier valued the democratic potential of printmaking and created nearly three hundred prints during his lifetime—roughly half lithographs and half intaglio prints, as well as a handful of woodcuts. Many were produced for illustrated book projects in collaboration with leading French writers who championed his work. His subjects included hostage imagery, erotic nudes, and abstracted plant forms. In the etching shown here he approximated the rough, textured surfaces of his Hostage paintings by using the etching needle to scar and pit his plate.Although most of Fautrier's prints were executed during the 1940s, they were often not editioned until after 1958, when he entered into a contract with publisher Michel Couturier to make new impressions of old plates. Prior to authorizing these comparatively traditional editions, Fautrier devoted much of the decade from 1946 to 1956 to an experimental series of "multiple originals," in which prints on paper were overworked with gouache, pastel, and paper pulp and mounted on canvas. Although intended to make his art more widely available, the project was not a commercial success. |
| 头部轮廓 | - |
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