十二種語言選擇
文章分類
最新文章
文章回應
我的訂閱
留言訊息
發佈訊息
我的好友文章網誌
小提醒：
我的行事曆
<<
>>
日 一 二 三 四 五 六
1 2 3 4 5 6
7 8 9 10 11 12 13
14 15 16 17 18 19 20
21 22 23 24 25 26 27
28 29 30
【藝訊】News Letter
2016-11-24 03:04:22
推文至各網站

▌  News Letter​ from​​​ TF Chen Cultural Center​(​​ NYC​ ​)​

     /  ​​​TF Chen ​Fine Art ​ ​Museum​ (Taipei)

    藝訊：陳錦芳文化館​(紐約​市) / 陳錦芳美術館​  ​​(台北市​)​​

 

              Wish you​ a​ very happy Thanksgiving

               Please keep in touch.

 

    TF 錦芳  ▏Lucia 幸君  ▏Ted ​德立​  ▏Julie ​玉立​  敬上

 

▌Art appreciation  藝術欣賞

Vincent  is Coming Home   ▏​梵谷歸來​​  ▏66 X 44”      ▏ o/c     ▏ ​1999​
 

▍The sublime interior of Matisse’s “Dessert, Harmony in Red” has become Van Gogh’s home, and a pattern of Van Gogh’s “Sunflowers” adorns the wallpaper and tablecloth. Van Gogh’s wife, a graceful Arlesian woman, prepares dessert for the happy artist, returning home from a long day of painting under the sun.

Thus, in Chen’s adaptation, Vincent van Gogh has finally attained the family intimacy and artistic recognition which he so earnestly craved throughout his lonely life.

在這幅作品裡馬蒂斯那幅「紅色之和諧」的輝煌室內變成了梵谷的家而梵谷「向日葵」的花樣裝飾了壁紙和桌巾。梵谷的妻子，一位雅淑的阿耳魯姑娘，正在為整天在烈日下作畫歸來的幸福畫家準備點心。就這樣，在陳錦芳的畫，梵谷終於獲得他孤獨的生涯中熱切渴望著的家庭溫暖與藝術上被肯定的榮譽。這正是充滿了「愛」的藝術家庭之寫照。​​
 
​​國際著名的梵谷專家，曾任梵谷美術館館長及荷蘭文化部部長的赫士卡博士(Dr. Jan Hulsker)說：「陳錦芳博士的『後梵谷系列』使我認為他是『梵谷的傳人』」。 陳錦芳博士畫了世界唯一的「後梵谷系列」一百五十幅，是研究梵谷很深的專家，其作品「梵谷歸來」被世界梵谷的專家TV ASAHI合編的「梵谷的神話」一書唯一非梵谷的作品彩色跨頁印出。1990年舉世慶祝梵谷逝世百年荷蘭皇家及荷蘭藝文界邀請陳錦芳博士​到阿姆斯特丹與梵谷同步展出。
​
►更多「梵谷歸來」詳情請點：​ 
http://www.tfchen.com/?portfolio=01%E6%A2%B5%E8%B0%B7%E6%AD%

 

Working  Hard   ▏勤勞工作   ▏48 x 66"   ▏ a/c     ▏IV-90

▍Van Gogh: “The Siesta” (1890) / T. F. Millet: “The Gleaners” (1857)
Using a study of Millet’s as a model, Van Gogh painted in oil a pleasant couple taking a nap under the shadow of some haystacks during the harvest season. To this scene, Chen added the famous image of Millet’s “Gleaners” (1857) onto the left-hand side, as well as a figure of Van Gogh in the middle of the canvas busy painting them under the serene autumn sky.

Millet lived a half-century earlier than Van Gogh, who in turn, lived a half-century earlier than Dr. Chen. In Chen’s new painting, these three hard working artists from three different countries and three different eras, share a mysterious connection as art allows them to intersect time and overlap expressions.
In his “Neo-Iconography” style, Dr. Chen weaves together familiar icons from the wide spectrum of world cultures, time and space, and art history to create new artworks with added dimensions of meaning and beauty. This concept of “assumptive situations” through “united time-space relationships” is also related to Post-Modernism.

►See More information： http://www.tfchen.com/?portfolio=%E5%8B%A4%E5%8B%9E%E5%B7%A5%E4%BD%9C&lang=en

 ​ ​
​梵谷認為這種對所心儀的大師作品的臨摹不僅是一種學習，而寧可說是一種「翻譯」或「創造」。在他寫給他 弟弟戴奧的信上，梵谷寫到他臨摹米勒的「午睡」時說，它好像「翻譯成另一種語文，一種色彩的語文」，就像他想用「溫柔的藍色和淡紫色來與黃色配成互補的顏 色而成為畫中重要的部份」來表現這個主題。翻譯？抑或銓述？不管如何，一幅新作品因而產生了!

利用米勒的習作作為範本，梵谷用油彩畫下一對農夫農婦在收穫的忙碌季節裡於乾草堆的陰影下睡午覺的景象。在景色中陳錦芳加上了米勒那有名的「拾穗者」的身影於畫面的左邊，並在畫面的中央加上了梵谷的立架作畫，在澄澈的秋空下揮毫敷彩的情況。
米勒比梵谷早生半個世紀，而梵谷比陳博士早生半個世紀有餘。在陳錦芳的新作裡，這三位來自不同國家，生活於不同時代的勤勞藝術家，共同分享著一種神秘的聯繫，透過藝術，他們得以穿梭時空而重疊表現。

在陳博士的「新意象派」畫風裡，他從世界文化的廣闊領域，以及不同的時間與空間，和藝術史裡擷取家喻戶曉的意象，將之整合交織，加上「藝以載道」和「綜合美觀」的新因素，創造出了嶄新的藝術作品。這種透過「時空合一」的「境況假設」與「後現代」文化緊緊相聯繫。​​

​►更多「勤勞工作 」詳情請點： http://www.tfchen.com/?portfolio=04%E5%8B%A4%E5%8B%9E%E5%B7%A5%E4%BD%9C

Early Bird    ▏透早就出門    ▏24 x 36"   ▏ o/c    ▏XI-90 

 ▍The original reference of the sower is Millet's Sower which Van Gogh translated into oil. Van Gogh loved Millet's art particularly his artworks on peasants. Van Gogh considered the everyday life of farmers an excellent motif and copied many of Millet's etchings into oil paintings. In Chen's new version of the Sower with Setting Sun, the original sunset was transformed into a brilliant sun ascending out of the horizon, its radiant beams shining upon the tulip fields in a golden vibration of red, yellow, orange, purple, pink, lilac, and even green. Two windmills witness the view on the distant horizon. Amid this vast color-field, the solitary figure of Van Gogh, equipped for outdoor painting, strolls thoughtfully. Although Chen's painting looks completely different from Van Gogh's original, the relationship of the structure is kept unchanged: the sun rises at the middle of the horizon beyond the artist, who walks on the right-hand side, between the furrows of colorful tulips in blossom.
In this painting, Chen imagined that our Van Gogh had returned to his homeland. Delighted by the splendid flowering of tulip-fields, the artist rushed out into the early morning to greet and paint them. From such passionate love and dedication, of course we can expect Van Gogh to bring about a masterpiece from his palette. (As the proverb says, "The early bird gets the best seeds.")
 
 在陳錦芳依據「夕陽下的播種者」所變奏的新版本裡，原來的日落被轉變成昇自地平線之光輝燦爛的日出，它那四射的黃金光芒這樣在鬱金香園上，激盪出一海洋紅、黃、橙、紫、粉紅、菫色、甚至藍綠色的波浪。地平線上點綴了兩座風車。這廣闊的色彩之田拱扥出了梵谷孤獨的身影，他一身野外寫生的配備，正漫步沉思。雖然陳錦芳的這幅作品與梵谷的原作看起來完全不一樣，但畫面上結構的關係則保持不變：太陽在地平線中間升起而藝術家走在右方的田埂上，其兩旁則是一排排盛開的鬱金香。
 
 在這幅畫裡，陳氏想像我們的梵谷已回到他的家鄉。被鬱金香園那萬花競艷的壯麗感動，我們的藝術家一大早就衝出去迎接這美景並加以畫下來。這種熱烈的愛和全身的投入，我們可以期待梵谷一定會從他的調色盤裡產生傑作。(就像俗語所說：早起的鳥兒吃到最好的種子，透早就出門，拾到滿肩挑。

 

  


  

 

 

 

 

 

 

 

 

 

 

 

陳錦芳博士 於2016-11-24 03:04:22發表 | | 最新回應 (0) | 上一篇 | 下一篇 |
目前尚無回應資料 !
留言內容：(必填)
  • 今日人氣：〈3〉人
  • 累積人氣：〈1346〉人
  • 最近登入時間： 2017-12-26 10:06:05