Neither Vuillard nor Bonnard, with whom he shared a studio, actually copied photographs in their resonant, small-scale paintings of domestic interiors. Instead, both tried to replicatethe immediacy of snapshots often catching their subjects mid-gesture. Using his photographs only as an occasional reference point, or toreflect a mood, Vuillard recomposed his subjects at will. At Table, Lunch and In Front of theTapestry: Misia and Thade Natanson both show abbreviated figures, whether absorbed in eating a meal, or with their backs to the viewer. Vuillards figures, who are almost swallowed up by the vibrant decor, have an apparitional quality that appealed to the 20th-century Frenchphotographer, Henri Cartier-Bresson, who described Vuillard and Bonnard as among the artists he most admired.
波纳尔和维亚尔共用一个画室,两人的小幅装饰画均有一定反响,但实际上这些画并非选自他们拍摄的照片。他们想要尝试的是重现快照中被瞬间定格的运动中的人物。对于维亚尔来说照片仅是一种临时的参考或某种情感的反应,他会随心所欲地对主题进行重塑。《餐桌边的午餐》和《在挂毯前:米西亚和塔德纳坦松》呈现的都是缩影式的人物,或是在全神贯注的用餐,或是背对着观众。维亚尔画中的人物几乎会被色彩鲜明的画面所淹没,有种若隐若现的效果。20世纪法国摄影师亨利卡帝尔布烈松对这种画风极为欣赏,他把维亚尔和波纳尔视为偶像。
【英语六级外刊阅读练习:艺术家和摄影师】相关文章:
最新
2016-10-18
2016-10-11
2016-10-11
2016-10-08
2016-09-30
2016-09-30