Detail from Salford Street Scene, 1959 索尔福德市街景写实,1959
Lowry was not a political painter and this is not socialist art. He was, after all, for most of his working life, a rent collector. 劳里不是一个有政治倾向的画家,这些画作也与社会主义无关。毕竟,他的一生中,大多出时间都用来收房租。 But there is great affection for his subject matter and his very painting of it suggests a deep respect for the working communities that he was surrounded by. 然而,他的题材仍受到广泛的喜爱,他的最好的画作传达出对身边的工人群体的浓浓的敬意。
Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, were doing hard work for little pay. 劳里画笔下的人们就像是许多如今的中国外来务工者,做着苦工,挣着小钱。
Detail from Salford Street Scene, 1959 索尔福德街景写实,1959
Detail from Rising Street, undated 莱辛大街写实,日期不详
Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition - Rising Street. She likes the dogs. Its nice that he painted working people, she tells me. Do you feel a connection? I ask. Everywhere, were all the same, she says. 蔡素云,南京的一名道路清洁工,站在他最喜欢的展画——莱辛大街前。她喜欢狗,“他画了工作的人们,画的真好。”她对我说。“你感觉到自己和画的关联吗?”我问,“关联到处都在,我们简直是一模一样。”她说。 Some see in Lowrys decades of work, not a depiction of industrial strength, but a bleak portrayal of long industrial decline. Alongside the parallels with the present, Chinese audiences may well find hints and warnings about the future. 劳里的几十年间的画作,在一些人看来,描述的并不是工业盛世,而是黯淡而长期的工业萧条。今日与昨日相比,中国的观众也许很容易找到未来的迹象和启示。
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