何多苓

內(nèi)容概要

　　最有意義的藝術(shù)存在于一種具體的關(guān)系，作者和另一個(gè)人?！吨袊?guó)油畫(huà)名家：何多苓》介紹了何多苓很多年都在試圖進(jìn)入這種一對(duì)一的理想實(shí)踐。正如何多苓自己說(shuō)的，“我的作品是表現(xiàn)個(gè)體而非群體的人”?！拔业漠?huà)上幾乎不會(huì)出現(xiàn)（或保留?。┮蝗艘陨系男误w?！?/pre>



書(shū)籍目錄
一對(duì)一的觀看還有多遠(yuǎn)？——何多苓的新作解讀 其實(shí)繪畫(huà)就是一種快樂(lè)——何多苓與歐陽(yáng)江河的對(duì)談 圖版 春風(fēng)已經(jīng)蘇醒 青春 小翟 塔 窗前的女人 海灘 迷樓系列——春 迷樓系列——夏 迷樓系列——秋 迷樓系列——冬 午后 庭院方案一 庭院方案二 庭院方案三 庭院方案四 庭院方案五 窺視 后窗（二） 后窗（三） 后窗（四） 后窗（五） 母親 小柯 青春2D07 小翟和龍舌蘭——向弗里達(dá)·卡洛致敬 紅襪子 落葉 夜奔 小綠人 重返克里斯汀娜的世界 雙人肖像 泉 珀?duì)栃匏古c龍 失樂(lè)園 兔子俄菲利亞 俄菲麗亞 樂(lè)園 肖像 空間 唯覺(jué) 梁焰 山邊的女人 甲根壩 風(fēng)景No.1 風(fēng)景No.2 次生林 雜花寫(xiě)生之二 雜花寫(xiě)生之三 雜花寫(xiě)生之四 雜花寫(xiě)生之五 雜花寫(xiě)生之二十六 雜花寫(xiě)生之二十八 薔薇 春天人物寫(xiě)生之一 野園 在水中 林中 克里斯汀娜以后的世界 沉睡的美人魚(yú) 兔子的誕生 兔子下山 兔子想飛 兔子森林 兔子和飛毯 樹(shù)上耍 兔子夏洛特 母女 舞者No.4 舞者No.9 偷走的孩子 小男孩在尋找他的聲音 這個(gè)世界哭聲太大，你不懂 出門(mén)未歸的孩子 沼澤女兒 山水間 奔跑的女人 風(fēng)中的女孩 無(wú)題 凱文 歡歡 小劉 連環(huán)畫(huà)《雪雁》之二十八 連環(huán)畫(huà)《雪雁》之四 連環(huán)畫(huà)《雪雁》之二十四 連環(huán)畫(huà)《雪雁》之二十六 連環(huán)畫(huà)《雪雁》之二十二 連環(huán)畫(huà)《帶閣樓的房子》之九 連環(huán)畫(huà)《帶閣樓的房子》之十 連環(huán)畫(huà)《帶閣樓的房子》之四 連環(huán)畫(huà)《帶閣樓的房子》之十九 連環(huán)畫(huà)《帶閣樓的房子》之十一 連環(huán)畫(huà)《帶閣樓的房子》之二十五 夏夜 小翟 自畫(huà)像 肖像 肖像 彝族人 祖母像 彝族人 素描 素描 人體 編者后記


章節(jié)摘錄
版權(quán)頁(yè)：   插圖：    Ouyang: Yes, dislocation. It's quite funny. In the periodwhen we were in Mexico, Xiao Zhai was very fascinatedwith Kahl, as a result she processed the painting likethis. It means that Xiao Zhai has replaced Kahl inboth image and spirit while they have certain commonqualities indeed. These dolls are quite mysterious,They which represent many complex sentiments ofMexico's culture, religion and history. I don't go intotheir implications seriously and just regard them aspixies make chaos. This painting is different from othersceneries with strong surrealistic component by thename of Salute to Frida Kahl: Xiao Zhai and Maguey,in which Kahl's regret for the past is quateds. She usedthis regret to express a character of confrontation withthe involuted social background and powerful man ofMexico Revolution. Xiao Zhai is awfully fascinatedwith these things and this painting serves to expresssuch elements. This batch of paintings have replacedprevious narcissism by ingredients of subjectivity andcynicism. At the same time, they have embodied it in avery graceful manner. Ouyang: The work Salute to Frida Kahl: Xiao Zhai andMaguey has been depicted full of dramatic, humanisticand narrative characteristics by you.He: This painting indeed has reverted to the narrativityof the day. In the earliest painting I painted Xiao Zhai, she wasin a empty room in Liangshan, also has a sort of exoticsentiment in it. Ouyang: The reason why the empty horizon repeatedlyappeared in your early works may have an internalrelation with your educated youth career in DaliangMount. You got a deep-rooted feeling for desolation.He: Looking at the poem The Waste Land, it had strongallure and felt very lofty. Ouyang: Now childhood is disappearing, the wasteland is disappearing, the lyric is disappearing as well,while materials become abundant increasingly, luxuryconsumption, neon lights, beer and economic bubblehuddle. He: Many people who respected The Waste Land inthose days had become bourgeoisies afterwards.Ouyang: The image itself of The Waste Land hasbecome a target consumer. In the painting Dead Leaves,leaves appear in the conspicuous place of the picturefor the first time, nevertheless, tree-trunk still plays asignify'cant, item propertied, metaphorical role.He: Here the only thing not abstract is that trunk.Ouyang: Is it likely to allude to penis?




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《中國(guó)油畫(huà)名家:何多苓》由吉林美術(shù)出版社出版。





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