本.沙恩Ben Shahn（1898年9月12日—1969年3月14日），美国画家。
Shahn出生在考纳斯,立陶宛,然后占领的俄罗斯帝国,犹太人父母约书亚埃塞尔和Gittel Shahn(Lieberman)。他的父亲是被流放到西伯利亚在1902年可能的革命活动,此时Shahn,他的母亲和两个弟弟妹妹搬到Vilkomir (Ukmergė)。1906年,家庭移民到美国他们重新加入埃塞尔,逃离了西伯利亚。他们定居在威廉斯堡的部分纽约布鲁克林,两个兄弟姐妹出生。他的弟弟淹死,时年17岁。 Shahn开始他的路径成为艺术家在纽约,在那里他第一次作为一个训练石印工。Shahn早期的经验光刻技术和平面设计显而易见他后期的版画和油画中通常包括文本和图片的结合。Shahn的主要媒介蛋彩画,欢迎社会现实主义者。
尽管Shahn出席纽约大学在1919年作为一个生物学的学生,他继续追求艺术城市学院然后在1921年国家设计学院。他的婚姻在1924年蒂莉戈尔茨坦后,两个经过北非然后到欧洲,在那里他做了“传统艺术家朝圣。”他研究了伟大的欧洲艺术家等亨利·马蒂斯,拉乌尔Dufy,乔治·鲁阿尔,毕加索和保罗克利。同时代的人会对Shahn产生深远影响的工作和职业包括艺术家沃克埃文斯,迭戈里维拉和琼Charlot
Shahn不满意工作的灵感来自于他的旅行,声称被模仿的。[2]Shahn最终超越他的追求欧洲现代艺术;他,相反,他努力重定向一个现实主义风格,他曾经为社会对话。
的23水粉画绘画的试验焦点在于和Vanzetti沟通的政治担忧,拒绝学术主题处方。焦点在于激情和Vanzetti于1932年展出,得到了公众和评论家的赞赏。本系列给Shahn信心培养他的个人风格,不顾社会的艺术标准。
一个水手Shahn在的照片杰克逊广场,新奥尔良,1935年。
Shahn随后一系列的加州工党领袖汤姆·穆尼他赢得了迭戈里维拉的识别。在1933年5月和6月,他担任助理迭戈里维拉,里维拉处决了洛克菲勒中心壁画。Shahn在范宁的争议过程中扮演了一个角色,通过员工中流传一份请愿书。也在这一时期,Shahn摄影记者见面《布赖森后来成为他的第二任妻子。虽然这婚姻是成功的,壁画,他1934年项目的公共艺术项目和市政艺术委员会的提议都是失败的。幸运的是,在1935年,Shahn是推荐的沃克埃文斯,前室友,和一个朋友罗伊Stryker加入摄影小组农场安全管理局(FSA)。作为金融集团的一员,Shahn漫游和记录美国南部沃克埃文斯和他的同事们在一起桃乐丝兰格。像他早些时候摄影的纽约市,Shahn FSA的工作可以被视为社会纪实。同样,Shahn的新协议艺术在FSA和安置机构暴露了美国人的生活和工作条件。他还曾为这些机构作为一个图形艺术家,画家。Shahn壁画是壁画泽家园社区中心的是他最著名的作品之一,但政府还聘请了Shahn执行布朗克斯区中央附件邮局和社会保障的壁画。1939年,Shahn和妻子产生一组13壁画的启发沃尔特·惠特曼的诗我看到美国和安装工作美国邮政Office-Bronx中央附件.馆长苏珊·爱德华兹承认这种艺术在公共意识的影响,写作,”罗斯福政府相信[这种]图像不仅有助于说服选民,国会议员支持联邦救灾和重建计划…艺术他为联邦政府的肯定自己的遗产和新政”。
产业工会联合会(CIO)海报(1946)
在战争期间的1942年,43岁的Shahn的工作办公室的信息(战争信息局),但是他的作品缺乏的首选爱国主义,只有两天的海报发表。他的艺术的反战情绪发现其他形式的表达式在一系列的绘画从1944 - 45,如死在沙滩上,它描绘了战争的荒凉和孤独。1945年他画的解放巴黎解放描绘了孩子们在废墟中他还做了一个系列,叫做幸运的龙,关于Daigo Fukuryū丸(字面意思为:幸运龙5号),日本渔船捕获的比基尼环礁氢弹爆炸。2012年,本系列的一个重要组成部分的集合福岛县艺术博物馆.[
从1961年到1967年,Shahn彩色玻璃在锡安寺贝丝,布法罗,纽约犹太教堂由哈里森和Abramovitz设计的。
Shahn也开始为哥伦比亚广播公司作为商业艺术家,时间,财富和哈珀。他的著名的1965的画像马丁·路德·金。出现在封面上的时间。尽管Shahn越来越受欢迎,他只接受了佣金他觉得被个人或社会的价值。[4]到1950年代中期,Shahn的成就达到了这样的高度,他发送威廉·德·库宁1954年,代表美国威尼斯双年展.他还当选为美国艺术和科学院,国家艺术和信件和学术界戴尔的e del Disegno艺术在弗洛伦斯。名人堂艺术指导俱乐部承认他是“二十世纪最伟大的大师之一。荣誉、书籍和画廊回顾继续重燃兴趣,他的工作……年在他死后。”
这位艺术家尤其活跃学术在他生命的最后二十年。他收到了荣誉博士学位从普林斯顿大学和哈佛大学,加入了哈佛大学查尔斯艾略特诺顿教授在1956年。他发表的作品,包括绘画的传记》(1956)和内容(1960)的形状,在艺术世界成为有影响力的作品。
Shahn was born in Kaunas, Lithuania, then occupied by the Russian Empire, toJewish parents Joshua Hessel and Gittel (Lieberman) Shahn. His father was exiled to Siberia for possible revolutionary activities in 1902, at which point Shahn, his mother, and two younger siblings moved to Vilkomir (Ukmergė). In 1906, the family immigrated to the United States where they rejoined Hessel, who had fled Siberia. They settled in the Williamsburg section of Brooklyn, New York, where two more siblings were born. His younger brother drowned at age 17.[1] Shahn began his path to becoming an artist in New York, where he was first trained as alithographer. Shahn's early experiences with lithography and graphic design is apparent in his later prints and paintings which often include the combination of text and image. Shahn's primary medium was egg tempera, popular among social realists.
Although Shahn attended New York University as a biology student in 1919, he went on to pursue art at City College in 1921 and then at the National Academy of Design. After his marriage to Tillie Goldstein in 1924, the two traveled through North Africa and then to Europe, where he made "the traditional artist pilgrimage." There he studied great European artists such as Henri Matisse, Raoul Dufy, Georges Rouault, Pablo Picasso and Paul Klee. Contemporaries who would make a profound impact on Shahn's work and career include artists Walker Evans, Diego Rivera and Jean Charlot.[2]
Shahn was dissatisfied with the work inspired by his travels, claiming that the pieces were unoriginal. Shahn eventually outgrew his pursuit of European modern art; he, instead, redirected his efforts toward a realist style which he used to contribute to social dialogue.
The twenty-three gouache paintings of the trials of Sacco and Vanzetti communicated the political concerns of his time, rejecting academic prescriptions for subject matter. The Passion of Sacco and Vanzetti was exhibited in 1932 and received acclaim from both the public and critics. This series gave Shahn the confidence to cultivate his personal style, regardless of society’s art standards.
Shahn's subsequent series of California labor leader Tom Mooney won him the recognition of Diego Rivera. In May and June 1933, he served as an assistant to Diego Rivera while Rivera executed the Rockefeller Center mural. Shahn had a role in fanning the controversy, by circulating a petition among the workers. Also during this period, Shahn met photojournalist Bernarda Bryson, who would later become his second wife. Although this marriage was successful, the mural, his 1934 project for the Public Works of Art Projects and proposal for the Municipal Art Commission were all failures.[2]Fortunately, in 1935, Shahn was recommended by Walker Evans, a friend and former roommate, to Roy Stryker to join the photographic group at the Farm Security Administration (FSA). As a member of the FSA group, Shahn roamed and documented the American south together with his colleagues Walker Evans and Dorothea Lange. Like his earlier photography of New York City, Shahn’s FSA work can be viewed as social-documentary. Similarly, Shahn’s New Deal art for the FSA and Resettlement Agency exposed American living and working conditions. He also worked for these agencies as a graphic artist and painter. Shahn’s fresco mural for the community center of Jersey Homesteads is among his most famous works, but the government also hired Shahn to execute the Bronx Central Annex Post Office and Social Security murals. In 1939, Shahn and his wife produced a set of 13 murals inspired by Walt Whitman's poem I See America Workingand installed at the United States Post Office-Bronx Central Annex.[5] Curator Susan Edwards recognizes the influence of this art on the public consciousness, writing, "The Roosevelt administration believed [such] images were useful for persuading not only voters but members of Congress to support federal relief and recovery programs… The art he made for the federal government affirms both his own legacy and that of the New Deal."
During the war years of 1942-43, Shahn worked for the Office of War Information (OWI), but his pieces lacked the preferred patriotism of the day and only two of his posters were published. His art's anti-war sentiment found other forms of expression in a series of paintings from 1944–45, such as Death on the Beach, which depicts the desolation and loneliness of war. In 1945 he painted Liberation about the Liberation of Paris which depicts children playing in the rubble[8] He also did a series, calledLucky Dragon, about the Daigo Fukuryū Maru (literally, Lucky Dragon No. 5), the Japanese fishing boat caught in the Bikini Atoll hydrogen bomb blast. As of 2012, an important part of this series is in the collections of Fukushima Prefectural Museum of Art.
From 1961 to 1967, Shahn worked on the stained glass at Temple Beth Zion, a Buffalo, NY synagogue designed by Harrison and Abramovitz.
Shahn also began to act as a commercial artist for CBS, Time, Fortune and Harper's. His well-known 1965 portrait of Martin Luther King, Jr. appeared on the cover of Time.[7] Despite Shahn's growing popularity, he only accepted commissions which he felt were of personal or social value. By the mid-1950s, Shahn's accomplishments had reached such a height that he was sent, along with Willem de Kooning, to represent the United States at the 1954 Venice Biennale. He was also elected to the American Academy of Arts and Sciences, the National Institute of Arts and Letters and the Academia dell' Arte e del Disegno in Florence. The Art Directors Club Hall of Fame recognizes him as "one of the greatest masters of the twentieth century. Honors, books, and gallery retrospectives continue to rekindle interest in his work...years after his death."
The artist was especially active as an academic in the last two decades of his life. He received honorary doctorates fromPrinceton University and Harvard University, and joined Harvard as a Charles Eliot Norton professor in 1956. His published writings, including The Biography of Painting (1956) and The Shape of Content (1960), became influential works in the art world.
After his death, William Schuman composed "In Praise of Shahn", a modern canticle for orchestra, first performed January 29, 1970, by the New York Philharmonic, Leonard Bernstein conducting
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