帕特里克·赫伦全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-29
 圣艾夫斯港口的窗口上有两个图像：1950年7月 | - |
| 长桌与水果 | The attention to colour in this early still life by Heron reflects his enthusiasm for the work of Bonnard and Matisse. He commented that 'throughout my early life I had this tremendous battle against the total English contempt for anything they could call decorative ¿ The perfectly ordered surface gives great pleasure. That pleasure used to be run away from by the English'. The ceramics depicted in this work were produced by the Leach pottery, where Heron worked during the Second World War. |
| 红色花园 | Red Garden is among the earliest known prints by Patrick Heron and reflects a critical moment of change in his work. It is thought to have been made at Bath Academy of Art at Corsham Court, Somerset, under the supervision of Henry Cliffe the principal lecturer in lithography. Heron had previously made monotypes and designed scarves for Cresta Silks, but this may have been his first editioned print. It was produced in at least one other colour, yellow having been substituted for the red.In 1956 Heron began to make what appeared to be non-representational paintings, in defiance of his earlier advocacy of representation. In the same year, he settled in his new home, Eagles Nest, Zennor, above the coast of west Cornwall. The two events converged as the paintings of that year were, despite their abstract appearance, associated with the garden there. In January 1956 the artist made the first of a series of works associated with Eagles Nest's garden - Vertical: January 1956. These are made up of layers of dabs or short strokes of paint, often thin enough for the medium to dribble down the canvas. The deployment of the marks ranges from a relatively rigid structure of vertical strokes to a looser, less evenly dispersed series of short stabs of paint, as in Azalea Garden: May 1956. In some, calligraphic lines of oil paint are drawn across the surface. The present lithograph is closely comparable to this series of paintings in the use of successive layers of short strokes of different colours. |
| 灰色和棕色条纹 | - |
| 黑色和蓝色条纹 | - |
| 垂直：1956年1月 | One of Heron's early non-figurative 'tachiste' (the French word for blot or mark) paintings in which the partial influence of contemporary American and French abstract styles is evident. For Heron dispensing with figurative imagery was a liberating experience, allowing him to 'deal more directly and inventively... with every single aspect of the painting that is purely pictorial, i.e. the architecture of the canvas, the spatial interrelation of each and every touch (and stroke, or bar) of colour... with a sense of freedom quite denied to me when I still had to keep half an eye on a 'subject' The painting covers an earlier, figurative work, traces of which can be discerned. |
| 杜鹃花园：1956年5月 | Heron painted this picture, inspired by his garden in West Penwith, Cornwall, during a period when he saw himself moving from representational art to abstraction. He recalled: ‘I referred to the series as garden paintings, since they certainly related in my mind to the extraordinary effervescence of flowering azaleas and camellias which was erupting all over the garden.’ Amongst the older generation of British artists, Heron admired Hitchens for his ability to create the illusion of space through colour. In 1953, Heron organised an exhibition entitled ‘Space in Colour’ at the Hanover Gallery that included works by Hitchens, Lanyon and himself. |
| 无题（来自颜色的形状） | - |
| 横条纹画：1957年11月- 1958年1月 | Heron was a critic and painter who championed an approach to painting that assessed quality according to such formal values as the flatness of a composition and colour. Of his stripe paintings he wrote, ‘The reason why the stripes sufficed ... was precisely that they were so very uncomplicated as shapes ... the emptier the general format was, the more exclusive the concentration upon the experiences of colour itself.’ Heron resisted the total abandoning of subject matter and even such works as this have been seen in relation to landscape, the horizontal bands and colours perhaps suggesting the horizon at sunset. |
| 猩红色，柠檬色和深蓝色：1957年3月 | This painting was made at Zennor, Cornwall. Heron has recalled that in the same month he 'painted the first of my other explicit vertical stripe paintings, the best known of which were those included in my exhibition at the Redfern Gallery in February, 1958. I painted other pictures in March, 1957, in which the colour was equally brilliant and flat, but in which the element of the vertical band or stripe was slightly modified'. |
| 无题(笔法系列) | - |
| 四张布鲁斯，两张唱片 | - |
| 猩红、祖母绿和橙色：1976年7月至9月 | - |
| 1973年1月：11 | - |
| 1973年1月：14 | - |
| 小黄：1973年1月 | - |
| 1973年1月：1 | - |
| 1973年1月：4 | - |
| 1973年1月：7 | - |
| 深绿色中间的深红色和粉红色交相辉映 | - |
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