比利时象征主义画家 原版画册 莱昂·斯皮里亚埃尔 Leon Spilliaert: 1881 - 1946
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作者Leon Spilliaert
出版社Royal Academy of Arts
ISBN9781912520220
出版时间2020-04
印刷时间2020-04
装帧精装
页数174页
上书时间2022-01-26
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Léon Spilliaert：1881 - 1946
比利时象征主义画家 莱昂·斯皮里亚埃尔作品画册
职业生涯探讨
Product details
Publisher : Royal Academy of Arts (April 21, 2020)
Language : English
Hardcover : 174 pages
ISBN-10 : 1912520222
ISBN-13 : 978-1912520220
Item Weight : 2.65 pounds
Dimensions : 9.2 x 0.8 x 11.6 inches
一种明亮的孤独:比利时艺术家Léon Spilliaert的遐想。他是恩索尔的对手，尼采和坡的倡导者
尽管人们经常把他与比利时的象征主义联系在一起，Léon斯皮里亚特，作为一个自学成才的画家，展示了一种独特的个人风格。他出生在沿海城市奥斯坦德，并在那里创作了许多最激进的作品。斯皮里亚特性格内向，患有失眠症，年轻时健康状况不佳。他在北海度假胜地的夜间街道上游荡，创作出神秘而又极具气氛的作品，描绘了这里黑暗的码头、海滩和长廊。他受到了奥德龙·雷登、詹姆斯·阿伯特·麦克尼尔·惠斯勒等画家和埃德加·爱伦·坡、弗里德里希·尼采等作家的影响;他对孤独的自我和强有力的形象的视觉探索也使他与爱德华·蒙克(Edvard Munch)和维尔海姆·哈默希(Vilhelm Hammershøi)等欧洲现代主义者保持一致。
这本书汇集了来自比利时、法国和美国的国际公共和私人收藏的100多幅作品，其中包括斯皮里亚特20多岁时创作的一系列令人难忘的自画像。许多作家，其中包括raisonné目录背后的学者，讨论了这位艺术家的独特方法，并将他的职业生涯与他更著名的同胞、当代的詹姆斯·恩索尔放在一起。比利时著名画家Luc Tuymans Spilliaert继承人的遗产,在很多方面提供了一个前言。
A luminous loneliness: reveries from Belgian artist Léon Spilliaert, rival of Ensor and exponent of Nietzsche and Poe
Although often associated with Belgian symbolism, Léon Spilliaert, largely self-taught as a painter, demonstrated a peculiarly individual style. He was born in the coastal city of Ostend, and created many of his most radical works there. An introvert and insomniac who suffered from poor health as a youth, Spilliaert wandered the night-time streets of the North Sea resort, creating mysterious and highly atmospheric depictions of its dark docks, beaches and promenades. He drew influence from such painters as Odilon Redon and James Abbott McNeill Whistler as well as the writers Edgar Allan Poe and Friedrich Nietzsche; his visual explorations of the self and potent images of solitude also align him with European modernists such as Edvard Munch and Vilhelm Hammershøi.
This book brings together more than 100 works from international public and private collections across Belgium, France and the US, including a series of haunting self-portraits that Spilliaert created in his twenties. Various authors, among them the scholar behind the artist’s catalogue raisonné, discuss the artist’s singular approach and put his career in context alongside that of his more famous compatriot and contemporary James Ensor. Acclaimed Belgian painter Luc Tuymans, in many ways the heir to Spilliaert’s legacy, provides a foreword.
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