摩西奶奶全部影视作品
首发于 qinglite.cn，统计截止日：2025-09-08
 雪兰多谷 | - |
| 尼泊尔山上 | - |
| 抓火鸡 | - |
| 雪兰多谷（1861年战役新闻） | - |
| 1862年特洛伊的燃烧 | Troy, which lies across the Hudson River from Albany, New York, was the largest city near Grandma Moses' home in Eagle Bridge. Surviving documents suggest that, for a brief period before she married, the future artist did factory work in Troy.A massive fire in Troy two years after Moses' birth clearly figured prominently in local lore. Moses cut out and saved a commemorative news clipping, published in 1939, and used it as the basis for a series of paintings. The artist's pencil notations on the clipping indicate how she proposed to modify the vignette. The Burning of Troy in 1862, the fifth version she did of the subject, is already quite far removed from the clipping.Conventional illustration tends to focus on foreground or background, but seldom on both at once. Combining these two views was one hallmark of the "Grandma Moses" style. Thus, in The Burning of Troy Moses has considerably expanded the scene beyond the burning bridge, including more foreground as well as a detailed rendering of the city in the background. |
| 胡塞克瀑布，纽约，冬天 | The Village of Hoosick Falls will always have a key place in the biography of Grandma Moses. It was here that her paintings were first discovered, sitting in Thomas' Drugstore window, and it is here that the artist is buried.For Moses herself, however, the importance of Hoosick Falls lay not in its connection to her own career, but in the village's role in American history. Today Hoosick Falls, the closest real town to the Moses farmstead, is a sleepy hamlet, somewhat passed over by modern economic development. However, until the Great Depression, it was a bustling commercial center, its industrial potential bolstered by its situation at the confluence of the Hoosick and Walloomsack Rivers. Moses associated the area, hunting grounds of the Mohican Indian tribe, with the tales of James Fenimore Cooper. "Some say Natty Bumpo sleeps his sleep in an unknown grave in the village limits," she wrote.Moses painted a number of versions of Hoosick Falls, showing the village in various seasons. Most follow the winding path of the Hoosick River, and may be based in part on old prints of the town. The bird's-eye view—encompassing more than would be visible from any single human vantage point—is, however, typical of Moses' unique approach. |
| 在农场的早春 | - |
| 洗衣日 | Many of Moses' earliest paintings had drawn on traditional American themes, such as "Catching the Thanksgiving Turkey" or "Sugaring Off". Moses chose these subjects because they reflected her personal experience, and it was this experience, as well as her keen observation of the surrounding landscape, that gave new life to these relatively dated images. As she grew more artistically confident, however, she began to craft paintings that were based more directly and completely on her own memories. Wash Day is such an image. |
| 万圣节 | - |
| 制作苹果黄油 | Although many people think of apples as a New England commodity, J. A. Apple Butter Making is actually among a handful of paintings based on Moses' Virginia memories. The house in the picture is the Dudley Place, one of several farms the Moses family occupied as tenants during their years down South."Late summer was the time for apple butter making," Moses wrote in her autobiography. "The apple butter was considered a necessity."To make apple butter, you take two barrels of sweet cider {you grind apples and make sweet cider first), then you put them on in a big brass kettle over afire out in the orchard and start it to boiling. You want three barrels of quartered apples, or snits, as they called them, with cores taken out, and then you commence to feed those in, and stirring and keeping that stirrer going. . . . Womenfolks would keep that going, feeding in all the apples until evening. Then the young folks would come in to start stirring. They'd have two—a boy and a girl—to take hold of the handle. They'd have a regular frolic all night out in the orchard.Moses' personal recollections—parts of which read like recipes, others like social history—were mirrored in the content of her painting. |
| 胡西克山谷 (从窗口看) | If Moses took anecdotal vignettes from newspaper and magazine clippings, her painting technique was largely derived from her experiences with embroidery.Like all women born in the days when store-bought clothes were a rare luxury, Moses had learned to sew in early childhood. Her first sustained pictorial efforts were, perhaps as a result, undertaken not with paint but with yarn. Even after Moses gave up making these embroidered "worsted" pictures, she tended to treat paint like yarn.Perhaps one of the most salient aspects of working with yarn is that— unlike paint—yarn makes it impossible to blend colors. In order to achieve subtle gradations of hue, multicolored strands must be placed side by side. This way of working translated into what some have characterized as Moses' impressionistic handling of paint. In Hoosick Valley (From the Window), varied tones of green and yellow are set next to one another to evoke the interplay between parched meadows and verdant hills.Moses also used paint texture in a manner that mimicked embroidery. Fenceposts are "stitched" into place, blossoming trees appear to be rendered in little knots of thread. Moses established a series of textural gradations, from flat expanses and isolated blocks of color to more intricate, multicolored configurations. Certain details were deliberately executed in raised paint in order to set them off from the background. Many of Moses' paintings, when viewed up close, are actually composites of abstract forms. |
| 傍晚的春天 | While Moses' way of piecing together compositions was partly dictated by her sense of abstract design, the arrangements were always subordinated to the requirements of the landscape. As a substitute for academic perspective (which she had never learned), she had recourse not just to a progressive scheme of diminishing sizes, but also to coloristic indicators of space. She was quick to note such qualities as the pale blue of distant hills, or the tonal gradations of the sky. She translated phenomena observed from nature into veils of color and layers of pigment.The Spring in Evening is notable for the way in which Moses captured both time of year and time of day. The rawness of the freshly plowed earth, the new growth on the hillside, and the lambent pink of the sunset are all rendered with a sure feel for color and a striking verisimilitude. Variations in the physical and tonal density of the paint create a series of transitions between the artist s anecdotal vignettes and the more complex hues of the landscape. The bold silhouette of the horses and the houses are spare, formal essences embedded in a network of paint. It is, however, the natural landscape that brings the whole to life. |
| 风暴正在水面上 | Those who know Grandma Moses' paintings only from reproductions often fail to realize how profoundly accurate were her representations of the natural environment. Indeed, it is her precise evocations of the rural landscape that bring her paintings to life and that to a large extent account for their enduring appeal.This aspect of Moses' achievement is perhaps most readily demonstrated by her storm scenes, for here the various forces and colors of nature appear of necessity in exaggerated form. A Storm Is on the Water Now is one of the artist's most dramatic pictures. By focusing on the terror of the two white horses, Moses has distilled and highlighted the impact of the raging torrent. A relatively limited palette further heightens the emotional effect. |
| 一个美丽的世界 | A the title suggests, A Beautiful World represents Grandma Moses' view of ideal harmony between humankind and nature."I like pretty things the best, Moses once told an interviewer. "What's the use of painting a picture if it isn't something nice? So I think real hard till I think of something real pretty, and then I paint it. I like to paint old-time) things, historical landmarks of long ago, bridges, mills, and hostelries, those old-time homes, there are a few left, and they are going fast. I do them all from memory, most of them are daydreams, as it were.So much twentieth-century painting has been difficult and pessimistic that some have a tendency to dismiss Moses vision as simplistic. In fact, though, there has been much art throughout history that is accessible and optimistic. All art is in some sense an affirmation of life—an offering of the human spirit, however downtrodden, as proof that our thoughts and feelings are ever precious and sometimes beautiful. This is the essence of Grandma Moses' genius. |
| 集市 | - |
| 在洗衣服 | - |
| 农场的早晨 | - |
| 欢乐骑行 | - |
| 暴雪 | - |
| 等待圣诞节 | - |
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