MoMA名画选-具象艺术

1914-26. Oil on canvas, three panels, Each 6' 6 3/4" x 13' 11 1/4" (200 x 424.8 cm), overall 6' 6 3/4" x 41' 10 3/8" (200 x 1276 cm). Mrs. Simon Guggenheim Fund

Monet's Water Lilies

September 13, 2009–April 12, 2010

In this triptych Monet depicted his Japanese-style pond covered with water lilies, at center, shimmering with reflections of clouds overhead. The water's surface fills the expansive composition so that conventional clues to the artist's—and the viewer's—vantage point are eliminated. Monet wished for the paintings to encompass the viewer: in his designs for the Musée de l'Orangerie in Paris, he specified that the Water Lily canvases be displayed on curved walls.

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2006

The aim of his large Water Lilies paintings, Monet said, was to supply "the illusion of an endless whole, of water without horizon or bank." While his garden in Giverny, his water-lily pond, and the sky above are the subjects of this monumental triptych, his representation of them can be seen to verge toward abstraction. In the attempt to capture the constantly changing qualities of natural light and color, spatial cues all but dissolve; above and below, near and far, water and sky all commingle. In his enveloping, large-scale canvases Monet sought to create "the refuge of a peaceful meditation in the center of a flowering aquarium."

The Dream

Henri Rousseau (French, 1844-1910) 亨利·卢骚《梦》

1910. Oil on canvas, 6' 8 1/2" x 9' 9 1/2" (204.5 x 298.5 cm). Gift of Nelson A. Rockefeller

252.1954

Although Rousseau completed more than twenty-five jungle paintings in his career, he never traveled outside France. He instead drew on images of the exotic as it was presented to the urban dweller through popular literature, colonial expositions, and the Paris Zoo. The lush jungle, wild animals, and mysterious horn player featured in this work were inspired by Rousseau's visits to the city's natural history museum and Jardin des plantes (a combined zoo and botanical garden). Of his visits the artist said, "When I am in these hothouses and see the strange plants from exotic lands, it seems to me that I am entering a dream." The nude model in this painting reclines on a sofa, mixing the domestic and the exotic.

Bauhaus Stairway

Oskar Schlemmer (German, 1888-1943) 奥斯卡·施莱默《包豪斯楼梯》

1932. Oil on canvas, 63 7/8 x 45" (162.3 x 114.3 cm). Gift of Philip Johnson

597.1942

Bauhaus Stairway depicts the Bauhaus, a school founded in 1919 by architect Walter Gropius, famous for its visionary integration of technology, art, and design. Although Schlemmer made this painting three years after he left his teaching position at the Bauhaus, the works gridded structure, streamlined modular bodies and predominant palette of primary colors capture the schools vibrant design spirit. The carefully choreographed arrangement of the figures and the man en pointe at the top of the stairs reflects Schlemmers role as the creator of many important dance and theatrical productions at the Bauhaus. Schlemmer painted this work as Hitler assumed power, shortly before the Nazis closed the Bauhaus for good. He was among many artists persecuted by the Nazis, whose work they deemed "degenerate" and often destroyed.

Flower Festival: Feast of Santa Anita

Diego Rivera (Mexican, 1886-1957) 迪亚哥·利维拉《鲜花丰收》

October 13, 1931. Encaustic on canvas, 6' 6 1/2" x 64" (199.3 x 162.5 cm). Gift of Abby Aldrich Rockefeller

23.1936

Rivera spent the tumultuous years of the Mexican Revolution (1910–20) painting and traveling abroad in Europe. Upon returning to his native country in 1921, he exalted indigenous Mexican people and traditions, making them a central subject of his work. As he later recalled, "My homecoming aroused an aesthetic rejoicing in me which is impossible to describe. . . . Everywhere I saw a potential masterpiece—in the crowds, the markets, the festivals, the marching battalions, the workers in the workshops, the fields—in every shining face, every radiant child." This painting, depicting a flower festival held on Good Friday in a town then called Santa Anita, was included in a solo exhibition of Rivera's work at MoMA in 1931. Only the second artist (after Henri Matisse) to receive this honor, Rivera was, at the time, an international celebrity: the New York Sun hailed him as "the most talked about artist on this side of the Atlantic."

Self-Portrait with Cropped Hair

Frida Kahlo (Mexican, 1907-1954) 弗里达·卡罗《自画像》

3.1943

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 181

Kahlo painted Self-Portrait with Cropped Hair shortly after she divorced her unfaithful husband, the artist Diego Rivera. As a painter of many self- portraits, she had often shown herself wearing a Mexican woman's traditional dresses and flowing hair; now, in renunciation of Rivera, she painted herself short haired and in a man's shirt, shoes, and oversized suit (presumably her former husband's).

Kahlo knew adventurous European and American art, and her own work was embraced by the Surrealists, whose leader, André Breton, described it as "a ribbon around a bomb." But her stylistic inspirations were chiefly Mexican, especially nineteenth-century religious painting, and she would say, "I do not know if my paintings are Surrealist or not, but I do know that they are the most frank expression of myself." The queasily animate locks of fresh-cut hair in this painting must also be linked to her feelings of estrangement from Rivera (whom she remarried the following year), and they also have the dreamlike quality of Surrealism. For, into the work she has written the lyric of a Mexican song: "Look, if I loved you it was because of your hair. Now that you are without hair, I don't love you anymore."

Gold Marilyn Monroe

Andy Warhol (American, 1928-1987) 安迪·沃霍《金色的玛丽莲·梦露》

1962. Silkscreen ink on synthetic polymer paint on canvas, 6' 11 1/4" x 57" (211.4 x 144.7 cm). Gift of Philip Johnson. © 2010 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

316.1962

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 241

Marilyn Monroe was a legend when she committed suicide in August of 1962, but in retrospect her life seems a gradual martyrdom to the media and to her public. After her death, Warhol based many works on the same photograph of her, a publicity still for the 1953 movie Niagara. He would paint the canvas with a single color—turquoise, green, blue, lemon yellow—then silkscreen Monroe's face on top, sometimes alone, sometimes doubled, sometimes multiplied in a grid. As the surround for a face, the golden field in Gold Marilyn Monroe (the only one of Warhol's Marilyns to use this color) recalls the religious icons of Christian art history—a resonance, however, that the work suffuses with a morbid allure.

In reduplicating this photograph of a heroine shared by millions, Warhol denied the sense of the uniqueness of the artist's personality that had been implicit in the gestural painting of the 1950s. He also used a commercial technique— silkscreening—that gives the picture a crisp, artificial look; even as Warhol canonizes Monroe, he reveals her public image as a carefully structured illusion. Redolent of 1950s glamour, the face in Gold Marilyn Monroe is much like the star herself—high gloss, yet transient; bold, yet vulnerable; compelling, yet elusive. Surrounded by a void, it is like the fadeout at the end of a movie.

The Bather

Paul Cézanne (French, 1839-1906) 保罗·塞尚《浴者》

c. 1885. Oil on canvas, 50 x 38 1/8" (127 x 96.8 cm). Lillie P. Bliss Collection

1.1934

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999

The Bather is one of Cézanne's most evocative paintings of the figure, although the unmuscled torso and arms have no heroic pretensions, and the drawing, in traditional, nineteenth-century terms, is awkward and imprecise. The bather's left, forward leg is placed firmly on the ground, but his right leg trails and carries no weight. The right side of his body is pulled higher than the left, the chin curves lopsidedly, and the right arm is elongated and oblique. The landscape is as bare as a desert, but its green, violet, and rose coloration refuses that name. Its dreaming expanse matches the bather's pensiveness. Likewise, the shadows on the body, rather than shifting to black, share the colors of the air, land, and water; and the brushwork throughout is a network of hatch-marks and dapples, restless yet extraordinarily refined. The figure moves toward us but does not meet our gaze.

These disturbances can be characterized as modern: they indicate that while Cézanne had an acute respect for much of traditional art, he did not represent the male nude the way the classical and Renaissance artists had done. He wanted to make an art that was "solid and durable like the art of the museums" but that also reflected a modern sensibility incorporating the new understanding of vision and light developed by the Impressionists. He wanted to make an art of his own time that rivaled the traditions of the past.

The Persistence of Memory

Salvador Dalí (Spanish, 1904-1989) 萨尔瓦多·达利《记忆的永恒》

162.1934

Dalí: Painting and Film

June 29–September 15, 2008

Time is the theme here, from the melting watches to the decay implied by the swarming ants. The monstrous fleshy creature draped across the paintings center is an approximation of Dalís own face in profile. Mastering what he called "the usual paralyzing tricks of eye-fooling," Dalí painted this work with "the most imperialist fury of precision," but only, he said, "to systematize confusion and thus to help discredit completely the world of reality." There is, however, a nod to the real: The distant golden cliffs are those on the coast of Catalonia, Dalís home.

Publication Excerpt: The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999

The Persistence of Memory is aptly named, for the scene is indelibly memorable. Hard objects become inexplicably limp in this bleak and infinite dreamscape, while metal attracts ants like rotting flesh. Mastering what he called "the usual paralyzing tricks of eye-fooling," Dali painted with what he called "the most imperialist fury of precision," but only, he said, "to systematize confusion and thus to help discredit completely the world of reality." It is the classical Surrealist ambition, yet some literal reality is included too: the distant golden cliffs are the coast of Catalonia, Dali's home.

Those limp watches are as soft as overripe cheese—indeed "the camembert of time," in Dali's phrase. Here time must lose all meaning. Permanence goes with it: ants, a common theme in Dali's work, represent decay, particularly when they attack a gold watch, and become grotesquely organic. The monstrous fleshy creature draped across the painting's center is at once alien and familiar: an approximation of Dali's own face in profile, its long eyelashes seem disturbingly insectlike or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail.

The year before this picture was painted, Dali formulated his "paranoiac-critical method," cultivating self-induced psychotic hallucinations in order to create art. "The difference between a madman and me," he said, "is that I am not mad."

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2006

Dalí rendered his fantastic visions with meticulous verisimilitude, giving the representations of dreams a tangible and credible appearance. In what he called "hand painted dream photographs," hard objects become inexplicably limp, time bends, and metal attracts ants like rotting flesh. The monstrous creature draped across the painting's center resembles the artist's own face in profile; its long eyelashes seem insectlike or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail.

The Sacrifice (Das Opfer) (plate 1) from War (Krieg)

Käthe Kollwitz (German, 1867-1945) 凯绥·柯勒惠支《牺牲》

(1922, published 1923). Woodcut from a portfolio of seven woodcuts and one woodcut cover, composition (irreg.): 14 5/8 x 16 1/16" (37.2 x 40.8 cm); sheet: 18 3/4 x 25 11/16" (47.6 x 65.3 cm). Gift of the Arnhold Family in memory of Sigrid Edwards. © 2010 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

470.1992.1

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