布赖斯·马登全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-26
 吉祥花园的平面形象（第一版） | In 2000, Marden has started the series called The Propitious Garden of Plane Image, the longest two of which measure 24 feet. References to the figure and to calligraphy (from Marden's previous series) have been replaced with sinuous abstract lines. The colours of the spectrum are laid on the canvas in a way that eludes the viewer's ability to determine which ones are above and which below. These gestural, curvilinear works serves to modify Marden’s early inquiry into formalism, flatness, and materiality. |
| 练习本--Hydra, Tampere, N.Y.C., Bucks Co. | - |
| 波尔克的信 | - |
| 10号 | - |
| 墓志铭画 5 | - |
| 尼维斯山岩石 | - |
| 长信 1 | - |
| 六号红岩 1 | - |
| 无题·绿色 | - |
| 《波提切利3》之后 | - |
| 服务员5号 | - |
| 对力士乐一号的蚀刻 | - |
| 对联三号 | At the beginning of the 1980s, Marden adopted a fluid and expressive style that was influenced by Eastern mysticism and calligraphy. He painted loose serpentine curves and made marks resembling hieroglyphs, that he joined into vertical columns. The resulting webs evoke crystal structures or a mesh of roots and branches. Marden's paintings are often the result of a studied contemplation of nature: 'You are observing nature and yet you are just trying to respond to it. When you draw a tree you get a certain kind of energy just by drawing the way it grows.' |
| 加盟 | - |
| 米拉贝拉附录二 | - |
| 出席 | - |
| 书法后绘画 | - |
| 老鹰集五号 | - |
| 寒山出口 | - |
| 圣巴特十号 | - |
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