主題分類
美國風景 Landscape
從第一批移民抵達美國大陸，其自然美景和疆域的誘惑已在我們集體想像空間中，佔有獨特地位。詹姆士•麥迪遜認為遼闊的大陸是自由的必要成分。美麗的自然景觀對美國藝術家來說亦是不可抗拒的主題，他們試圖探索土地對美國民族性格的影響，並記錄未經馴服的美國荒野和科技文明進程的交界處。
本次「描繪美國展」許多精選作品呈現美國境內的遼闊景觀。從田園詩般的平原，綿延至雄偉山峰、繁華城市，觀眾可由繪畫、攝影，甚至彩繪玻璃中，見識到這個國家風景的美麗與多元。
From the arrival of the first settlers on this continent, the natural beauty of America and the lure of the frontier have occupied a unique place in our collective imagination. James Madison considered the expansiveness of the continent to be a necessary ingredient of liberty. This natural beauty also has proved an irresistible subject for American artists, who have sought to explore the land’s effect on our national character, and to document the intersection between the untamed American wilderness and the advance of American technology and civilization.
Many of the works featured in Picturing America showcase the vast landscape framed within the borders of our nation. From idyllic plains and majestic mountains to bustling cities, we see the beauty and variety of the country’s landscapes as depicted in paintings, photographs and even stained glass.
[相關展品]
-
5a. 雷雨後的麻州諾森頓霍利約克山頂（VIEW FROM MOUNT HOLYOKE）by THOMAS COLE, 1836
油彩‧畫布（130.8 x 193 公分），© 大都會博物館。
Oil on canvas; 51 1/2 x 76 in. (130.8 x 193 cm). © The Metropolitan Museum of Art.十九世紀風景畫盛行，城市居民將鄉村生活視為解決工業化問題的出口。此畫呈現美國西進時期人類心靈面對開化與未開化之間的矛盾與衝突。
Urban dwellers viewed rural life as a remedy for the problems of industrialization. Thomas Cole’s split representation of the Connecticut Valley depicts the inherent conflict between wilderness and civilization that characterized westward expansion.
-
6a. 美洲紅鶴（AMERICAN FLAMINGO）by JOHN AUDUBON, 1838
羅伯哈維爾 (西元1793年~1878年)，根據約翰詹姆士奧杜邦畫作蝕刻。板：97 x 65公分，紙張：101.28 x68.26公分。影像 © 2006信託委員會，國家藝廊，華盛頓特區。
Robert Havell (1793-1878), Engraver after John James Audubon. Hand-colored etching and aquatint on Whatman paper, from ‘The Birds of America’ (plate CCCCXXX1). Plate: 97 x 65 cm (38 3/16 x 25 9/16 in.) sheet: 101.28 x 68.26 cm (39 7/8 x 26 7/8 in.) Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.鳥類圖鑑四百多張水彩畫之一，替早期的珍禽異獸留下紀錄。
Birds of America serves as an invaluable record of early wildlife.
-
8a. 俯瞰加州優勝美地山谷（LOOKING DOWN YOSEMITE）by ALBERT BIERSTADT, 1865
油彩‧畫布，163.83 x 245.11 公分。© 伯明罕藝術博物館。
Oil on canvas, 64 1/2 x 96 1/2 in. (163.83 x 245.11 cm.). © Birmingham Museum of Art.全景式的優詩美地山谷展現恢弘的氣勢，人類因此無足輕重了。
This large, panoramic landscape of the Yosemite Valley pulls the viewer into the dramatic scene. Missing in the painting are any people - only a shroud of golden light breaks through the clouds. In Bierstadt’s scenario, the viewer discovers that before so magnificent a landscape, human beings dwindle to insignificance. (Yosemite Land Grant was passed in 1864.)
-
11a. 奮力一划（BIGLIN IN A SINGLE SCULL）by THOMAS EAKINS, 1873
水彩‧黃白色網紋紙，49.2 x 63.2 公分。攝影 © 1994大都會博物館。
Watercolor on off-white wove paper; 19 5/16 x 24 7/8 in. (49.2 x 63.2 cm). Photograph © 1994 The Metropolitan Museum of Art.繪畫要像攝影般捕捉瞬間的景物非常困難。水彩畫尤難，因為一旦畫了就不能修改。此作品描繪划船明星比格林在終點線前奮力一搏的剎那。
Unlike oil paint, watercolor does not allow for error. John Biglin was a superstar athlete of the time, and the depiction of the rower in excellent racing form, at the precise moment before dipping the oars, reveals his dedication and strength in competition.
-
13b. 秋景（AUTUMN LANDSCAPE）by LOUIS TIFFANY, 1923
法夫里爾鉛玻璃窗戶， 335.3 x 259.1公分。© 大都會博物館。
Leaded Favrile-glass window: 11 ft. x 8 ft. 6 in. (335.3 x 259.1 cm). © The Metropolitan Museum of Art.第凡內家族哥德復興式豪宅彩繪玻璃，現已單獨成為一件藝術品。
A window created for the Gothic revival mansion resembles an elaborately framed easel painting.
-
15a. 美國風貌（AMERICAN LANDSCAPE）by CHARLES SHEELER, 1930
油彩‧畫布，61 x 78.8公分。艾比艾德里奇洛克斐勒致贈 (166.1934) 。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。
Oil on canvas, 24 x 31 in (61 x 78.8 cm). Gift of Abby Aldrich Rockefeller (166.1934). Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource.這裡田園牧歌式的標題易使人產生誤解。席勒認為以往古典繪畫的宗教情懷已被機械工廠所取代。當時此畫還被認為是見證美國新文明的勝利。
The bucolic title belies its subject matter: a lone, anonymous figure dwarfed in an enormous sea of factories, which had become a “substitute for religious expression.” At the time of its creation, the painting was viewed as depicting the triumph of American ingenuity.
-
15b. 克萊斯勒大樓（THE CHRYSLER BUILDING）by WILLIAM VAN ALEN, 1926
紐約市42街與萊辛頓大道。鋼骨、磚、混凝土、磚石結構、金屬包層，高：318.82公尺。
42nd Street and Lexington Avenue, New York. Steel frame, brick, concrete, masonry, and metal cladding, height 1046 ft. (318.82 m).二○年代曼哈頓摩天大樓熱催生的克萊斯勒大廈，飾有輪蓋形狀與美國禿鷹滴水嘴，大廳則以埃及圖騰與蓮花為主題，具有最摩登的外觀與最古典的裝潢。
The competitive climate of 1920’s Manhattan drove the creation of this building. It was decorated by hubcaps and American eagle heads in place of traditional gargoyles. The lobby adorned with the lotus motif was designed at the height of the Egyptian mania.
-
16a. 鐵路旁的房子（HOUSE BY THE RAILROAD）by EDWARD HOPPER, 1925
油彩‧畫布，60.96 x 73.66公分，匿名捐贈。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。
Oil on canvas, 24 x 29 in. Given anonymously. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.新式鐵道與老式建築並存，冷淡寂寥的氣氛暗示畫家對戰後美國的都市化並無欣喜之情。畫中視角非常低，幾乎忽略了鐵路。另一種相反的說法則是，鐵路已融為房屋的一部份，隱喻美國現代生活奠基於鐵路的蓬勃發展。
From our curiously low viewpoint, the track appears to slice through the lower edge of the structure - or, to regard it in a different way, to become part of the house itself, a new foundation for American life.
-
16b. 落水山莊（FALLINGWATER）by FRANK WRIGHT, 1935
屋主：考夫曼，位於米爾朗，賓州，西元1935年~1939年。照片由西賓州保護協會提供。
Kaufmann House, Mill Run, Pa., 1935– 1939. Photograph courtesy of the Western Pennsylvania Conservancy.築於瀑布之上的房屋，最具原創性的美國建築，追求天人合一的境界。內凹的房間、粗糙的岩壁、低矮的天花板創造出一種洞穴之感，彷彿遠離塵囂的避難所。
The dwelling is suspended above a waterfall and nestled into a mountainside, blending modern conveniences with views that make it a part of nature itself. Recessed rooms, fieldstone interiors, and unusually low ceillings create the impression of a cave - or a shelter.
-
17b. 鴿子（THE DOVE）by ROMARE BEARDEN, 1964
剪貼照片複製品、紙/水粉/鉛筆/色鉛筆‧紙板。33.97 x 47.63公分。布蘭琪洛克斐勒基金 (377.1971)。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。© 羅馬拉比爾敦遺產信託。
Cut-and-pasted photoreproductions and papers, gouache, pencil and colored pencil on cardboard, 13 3/8 x 18 3/4 in. Blanchette Rockefeller Fund (377.1971) Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY © Estate of Romare Bearden Trusts.民權運動高峰時期的拼貼作品，安祥的鴿子、掠食的貓，拼湊出城市的繁忙與喧囂。該系列作品被譽為「視覺詩」。
Created during the heart of the Civil Rights Movement, this collage depicts a bustling city neighborhood with a serene bird at its center. It also marked a new artistic direction for Romare Bearden, who for the remainder of his career continued to create collages often referred to as “visual poetry.”
-
20a. 都市風景 I（CITYSCAPE I）by R. DIEBENKORN, 1963
油彩‧畫布，153.04 x 128.27公分。舊金山現代美術館，由受託人與朋友之基金購買，以紀念海克多艾斯科波沙、布萊頓威爾波、J.D.齊勒巴赫。
Oil on canvas, 60 1/4 x 50 1/2 in. (153.04 x 128.27 cm.). San Francisco Museum of Modern Art. Purchased with funds from Trustees and friends in memory of Hector Escobosa, Brayton Wilbur, and J. D. Zellerbach.捕捉陽光顏色，展現一種「態度」。
The artist captured the light by combining green, gray and blue.“A painting is an attitude, like a signthat is hung up to be seen.”
