- 发帖可能变空内容，邪门暂不知所以然
- 『稷下学宫』新认证方式，24年网站打算和努力目标
主题：【原创】也说威廉透纳——五四青年节的美术馆之行 -- 张声语
前言：原本是回来当天就写了一堆乱七八糟的东西，结果一直没有时间整理，所以才拖到现在贴出来。。。
事实上，我是一个不太有资格在此胡说八道的人，我自己的水粉水彩都是一塌糊涂，更不用说油画，画布连摸都没有摸过。而且后来又由于身体关系，凭国画作稻粱谋的梦想彻底幻灭，相关画画的一切技艺也就此荒废下来了。
即便是如此，手指骨节的缝隙里，某种说不清道不明的东西仍然胶着着。午夜梦回的时候，心底里或许还有小小的失落，却依旧会像十几年前那样，为了一幅画高兴，激动，哭泣：是的，我曾为画画哭过很多次，运笔用墨琢磨不透的时候，急得直哭；大冬天在寒冷寂寥的巫峡口写生的时候，冻得直哭；画完以后不满意的时候，一边撕一边哭，然后擦干眼泪再铺纸研墨。。。现在，我还会哭，只不过都是为了别人的画，远远比我的画更好更有天分的画。
就这样，我开始在震撼人心的画中寻求我的缺失，从莫奈，雷诺阿，到毕沙罗，从莱顿，提索特，到西蒙，从杜普荷与布雷东，到米勒与柯罗，还有，这一次难得的威廉透纳。
透纳画展的宣传有一些不一样，雅昌上面甚至举办了回答问题送票的活动，不过我还是乘了五四青年节活动的东风，享受了一次免票。如往常一样，事先做了功课，知道画展的安排，于是，抱着观看透纳的一生的好奇心站在了美术馆的门口。还未立夏，天气却隐隐有了铄金之势，不过进到展厅，却觉得来到了一片与世隔绝的阴凉所在。抬脚迈入，《海上渔夫》的真迹即显眼前——被惨淡的月光悄悄渗透的天空，连绵的黑云，躁动的海，还有任凭海浪摆弄的渔船，还有渔夫手中那微弱的灯光。我呆呆地立在它的面前良久。而这，只不过是这个画展的开始。天，光，云，水的神奇组合使我整整耗费了五个钟头穿梭在五个展厅中，直至双脚在淡金的缀花小鞋里走得酸疼，无他，透纳的魅力而已。我的一位同学就曾如此形容《海葬》：“透纳的油画，十中之九是画中有水，而有水的画又十中之九海中有日。或者日出，或者日落。于是一片红色就被灰色裹挟，而顺着灰色的浪潮看去，又翻滚上下，不辨风云雾水，一圈圈卷起来，几欲涌出画框之外。而日光的红色，或是亮色，却又自兀倔强地穿透阴霾，灼人双眼”。一切的一切，在透纳的眼里笔下，都能化为恣意翻滚的浪潮，在观赏者混沌的原始记忆中，纠缠不息。。。
然而，没有人知道，坐在侧厅的长凳上的我，其实在满心惊佩的空隙里，还充塞着很多乱七八糟的思绪，它们在脑海中交杂喧哗，最后推出了一个恐怕并不会受透纳的推崇者欢迎的结论——哪怕是才华横溢的透纳，哪怕是长于作诗画画也并不缺乏商业头脑的透纳，哪怕是并不似华兹华斯那样恐惧科学发展的透纳，也并非是从天而降的神。他也是一个无法逃脱艺术家宿命的人，他也有青涩，成熟，以及，随着年纪渐长后的衰退。在他的早期，他学习荷兰海景画，在皇家学院接受正规教育，在克劳德洛兰的画作前顶礼膜拜，在穿越欧洲的千里游历中观察每一棵树，每一座桥和每一个城堡。之后，许多人把他视作同莎士比亚和弗朗西斯培根一样的存在，却忽视掉了，莎士比亚的周围有十数个优秀的剧作家在用同样的风格写作；至于和弗朗西斯培根往来的，有格外睿智的哥哥安东尼培根，机敏的诗人富尔克格雷维尔，虽说敌对的但同样有见识才智的表弟罗伯特塞西尔，而他所攀附的，正是伊丽莎白一世那文雅多才风流倜傥的情人埃塞克斯伯爵。即是说，这些世人所举的“天才”，并非是天外来客，而只是我们所仰望的山峦之中最高的那一座山峰。而衰退，这也不是什么羞于承认的事，正如西蒙的名作《人生三阶段》中所展现的一般，正是生命的固定节奏，就连伟大的米开朗基罗也在这样的发展历程笼罩下，更何况是晚年益现古怪的特纳，交织的色彩层次，暗沉却又包含着微微希望的宗教画作，也掩饰不了一颗渐渐归于安顿的心。
所以，如果说，我有一幅柯罗或康斯特布尔的风景画，我会毫不犹豫地挂在书房中，以便享受那冷凊和恬静；那么，对于透纳画作的放置之处，将是一个不好解决的难题——放在哪里，它都会让我中魔一般地，把那里的风格渐渐向它靠近。
最后罗嗦一句，如果看这个画展，不论你本身是否画画，侧厅里关于透纳笔法研究的那个短片都是非常有益和有趣的。
可惜都看不到, 不管怎样, 贴张图吧
暴风雪 - 汉尼拔和他的军队翻越阿尔卑斯山 ...
Fisherman at Sea
问题没有解决?
恭喜：你意外获得【通宝】一枚
鲜花已经成功送出。
此次送花为【有效送花赞扬，涨乐善、声望】
没有画的照片，即使有，贴上来也没有啥效果，还是要去看真品才有感觉
很透纳很透纳
绝对不虚此行。推荐大家去。而且基本等于免费哦！！我估计就是在西方看到这样大规模高质量的透纳作品展也不容易。
脑力劳动楼主已经付出了, 体力劳动就我来做吧
Peace - Burial at Sea
作品也集中在英美的博物馆里
从小就在父亲的带领下生活在海上。后来，父亲所在的船被海盗掠去，父子失散。透纳流落到一个小港口，以打铁为生。
透纳成年后，遇到了影响他一生的人——杰克 斯帕罗船长。在斯帕罗船长的劝说下，他放弃了安定的生活，跟随斯帕罗船长周游世界。先后到过亚洲、非洲、中美洲，甚至到过北极。这期间，透纳饱览了波澜壮阔的海上风光，对他以后绘画风格的形成产生了决定性的影响。
这期间，透纳结识了他的终生伴侣——伊丽莎白。获得圆满爱情的透纳决心用画笔把那些旖旎的海上风光展现出来。在斯帕罗船长和另一位赞助人——巴博萨船长的资助下，透纳回到了英国。从此开始了他的绘画生涯。
他的作品，大都是以斯帕罗船长的“黑珍珠”号为蓝本，场景取自于他的亲身体验。因此，更显出难得的真实感。
俺倒是没哭过，只是着急过郁闷过。原因是俺的道行远没您那么深~
还想说点什么，但是不知道怎么说了，这也很郁闷~
还是送花吧~
帖子收藏了。第一次看透纳的画就喜欢上了。文艺这玩意阿，和找MM是相通的，就讲究个一见钟情~
以前画的也很疯，十二份理解楼主的心情，所以送花先。不过哭不太好，眼泪虽然排毒，也很伤气血的呵呵。
再悄悄问一声：这个展在哪个城市？北京？深圳？还有在其他地方的巡展吗？
The Government has pledged millions to underwrite an exhibition of the artist's work in Beijing
By Brian Brady
Sunday, 26 April 2009
Share Close
Digg
del.icio.us
Stumble Upon
Fark
Newsvine
YahooBuzz
Bebo
Mixx
Independent Minds
Print Email Text Size
NormalLargeExtra Large
The decision to send more than a hundred paintings by the English Romantic artist J M W Turner to be exhibited in Beijing – after the successful visit of the Terracotta Army to London – was a hugely symbolic move, part of a "wider approach to building understanding between the two countries".
It was supposed to cement Gordon Brown's position as a global statesman, and strengthen his relationship with the nation he sees as the world's most significant rising power. But, only two months later, the Prime Minister's grand gesture is already looking limp – and it could also end up costing the nation hundreds of millions of pounds.
Ministers have been forced to pledge more than half a billion pounds of taxpayers' money to ensure the landmark Turner exhibition could go ahead, after the credit crunch dashed hopes that private investors would foot the bill.
The Foreign Office had to make an emergency request to the Treasury for permission to underwrite the near-priceless collection against loss or damage – and save an exhibition seen as "a critical part of [Britain's] public diplomacy efforts" – when the Chinese made it clear they would not accept any financial responsibility for the paintings.
The rushed deal, put together to allow Mr Brown to announce the move while the Chinese Premier, Wen Jiabao, was visiting the UK for an Anglo-Chinese summit in February, effectively leaves the Government in the position of insurer of last resort. If any of the 112 paintings come to harm during a five-month stay at the National Art Museum of China (NAMOC), ending in August, the taxpayer will pick up the tab.
"The intention was for the cost of the exhibition and its insurance to be covered by private sponsorship," Caroline Flint, the minister for Europe, explained in a letter to the chairman of the Public Accounts Committee, Edward Leigh, earlier this month – several weeks after the paintings left for China.
"Prearranged commercial sponsorship was affected by the economic downturn and although the [British] Council sought replacement it had not been forthcoming."
The exhibition, the result of a partnership between the British Council, Tate Britain and NAMOC, opened in Beijing in April. The huge collection of paintings and works on paper, J M W Turner: Oils and Watercolours, had previously been hosted by the Pushkin Museum, Moscow.
When the Beijing visit was announced, all senior figures connected with the deal made much of its wider political and cultural significance.
Martin Davidson, the chief executive of the British Council, said: "China will be an important economic partner for the UK over the coming years and cultural ties will be vital to maintaining strong links.
"This exhibition forms part of a wider approach to building understanding between the two countries."
However, Ms Flint revealed that the move had been threatened by the fact that organisers had been able to arrange commercial insurance worth only 100m for a collection conservatively valued at more than 650m.
She added: "Before approaching the Treasury to seek agreement to increase contingent liability, all other options were fully explored.
"While there is a government indemnity scheme which covers works of art moved within the UK, it does not cater for an artwork loaned outside the UK. A government-to-government agreement was not possible as the Chinese government indicated that it would not be willing to commit to an agreement which exposed it to any financial liability for this exhibition.
"As there was still a shortfall in funds... the exhibition could only go ahead with the government indemnity scheme providing additional indemnity, which could not be covered by commercial insurance."
因为金融危机没人肯出钱了，看来tg的人品的确不错啊，展览都是英国人自己掏腰包，还是说上次展览兵马俑也是我们自己出钱。