观众迎面看到的是四张照片的幕墙:1960年在德克萨斯州,一群尼克松的支持者挥舞旗帜、戴着眼镜;1958年,一群中国年轻人在愣愣地看电视;1962年,许多穿着外套的法国送葬者手挽着手。1962年,撒丁岛上一群形容枯槁、面露凶相的老人在草地上游荡。这些照片齐聚一堂,不但显示卡蒂埃布列松的题材广泛,还展现了他拍摄群像的才能。不论是加冕礼还是大游行,每拍摄一个场景,他都把照相机对准浑然不觉的芸芸众生。
The show is divided into sections, starting with some of Cartier-Bresson s most arrestingsurrealist work from the 1930s, such as a sunbather in Trieste, Italy, whose white bodyechoes a sliver of white in the grass, and his self-assured prostitutes in Mexico City. Thencame the war followed byhis career as photojournalist and portrait photographer.
这次摄影展分成几部分,开头是卡蒂埃布列松20世纪30年代最引人瞩目的超现实主义作品,比如意大利蒂利亚斯特的日光浴者,她们的白皙身体和银白色草场相互呼应,还有墨西哥城满怀自信的妓女。接着是战时摄影作品,开创了他身为摄影记者和肖像摄影家的职业生涯。
There is much to marvel at, such as the pictures of China in 1948, which capture thephotographer s powerful sense of formal composition. Some of the curator s choices seem abit odd and the written descriptions, which add little, are occasionally heavy-handed. Onesection, for instance, is introduced as Cartier-Bresson s criticism of American vulgarity,greed and racism. But the visitor is left with a remarkable chronicle of the transformationsof the 20th centurythe rise of industrialisation, the fall of colonialism, the spread ofcommercialism and the grand-scale shift in world orderall captured by a lone man and hiscamera.
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