爱丽丝奈尔(1900年1月28日- 1900年10月13日)是一个美国视觉艺术家，奈尔被称为“20世纪最伟大的肖像艺术家之一”
爱丽丝奈尔出生于1900年1月28日,在梅里恩广场,宾夕法尼亚州乔治·华盛顿奈尔,宾州铁路公司的一名会计,和爱丽丝Concross哈特利奈尔。在1900年代中期,她的家人搬到乡村小镇宾夕法尼亚州Colwyn.年轻的爱丽丝第四的五个孩子,三个兄弟和一个姐姐。她的大哥,哈特利,她出生后不久就死于白喉。他只有八岁。期间她长大成一个刻板的中产阶级家庭的时候有期望和机会有限。她的母亲对她说,“我不知道你期待去做世界上,你只是一个女孩。
1918年,高中毕业后,她花了公务员考试,得到了高薪文员职位,以帮助支持她的父母。经过三年的工作,晚上参加艺术班费城,奈尔的艺术项目费城学校为女性设计的(现在摩尔艺术与设计学院1921年)。她于1925年毕业。奈尔经常说,她选择参加一所女子学校,以免分心从她艺术的诱惑异性。
她遇到了一个上流社会的古巴画家在1924年命名卡洛斯Enriquez在切斯特。斯普林斯暑期学校由PAFA.[3]他们结婚在1925年6月1日,在Colwyn,宾夕法尼亚州。结婚后,奈尔最终搬到哈瓦那Enriquez的家人住在一起。在哈瓦那,奈尔接受了新兴的古巴人前卫的,一组年轻作家,艺术家和音乐家。在这种环境下奈尔开发的基础她一生的政治意识和对平等的承诺。在这段时间里,她有七个仆人和住在一个公寓。
达纳·戈登,爱丽丝奈尔,1972年
奈尔的女儿,Santillana出生12月26日,1926年,在哈瓦那。[8]在1927年,这对夫妇回到美国生活在纽约。仅仅一个月之前Santillana的第一个生日,她死于白喉.[2]Santillana去世造成的创伤注入奈尔的画的内容,设置一个先例的主题母性,损失和焦虑,渗透到她的工作期间,她的事业。Santillana逝世后不久,奈尔怀上她的第二个孩子。[8]1928年11月24日,伊莎贝拉莉莲(称为Isabetta)出生在纽约。Isabetta诞生的灵感是奈尔的“婴儿诊所”,展示了一个暗淡的母亲和婴儿产科诊所比苗圃更让人想起一个精神病院。
在1930年的春天,卡洛斯曾给人的印象,他出国找一个地方住在巴黎。相反,他回到古巴,带着Isabetta他。哀悼她的丈夫和女儿的损失,奈尔出现了严重的神经衰弱,住院,试图自杀。[2]她被安排在自杀的病房费城综合医院.
奈尔描绘当地的人物,其中包括乔·古尔德与多个阴茎,她在1933年著名的描绘,这代表他膨胀的自我和对他是谁和他的“自我欺骗”未能实现的野心。这幅画,这是一种罕见的幸存者她的早期作品,已被证明泰特现代美术馆.
在大萧条时期,奈尔是第一个艺术家的工作工程进度管理.在1933年底,奈尔受雇作画每六周。她一直过着贫穷的生活。她与一位名叫肯尼斯·杜利特尔海洛因成瘾者和一个水手。1934年1934年,他被点燃她的水彩绘画和素描。在这个时候,她的丈夫卡洛斯提出团聚,虽然最后这对夫妇团聚和正式提出离婚。
她的世界是由艺术家、知识分子和政治领导人共产党,都成为了她的作品主题。她的工作荣耀subversion和性,描绘异想天开的爱好者和裸体的场景,像一个水彩她1935年,爱丽丝奈尔和约翰•罗斯柴尔德在浴室里,显示裸体撒尿。在1930年代奈尔获得了一定程度的名声作为一个艺术家,并建立了一个好站内圈市中心的知识分子和共产党领导人。虽然奈尔从来没有一个正式的共产党员,她的信仰和同情共产主义的理想保持不变。在1930年代,奈尔搬到西班牙哈莱姆,开始画她的邻居,特别是妇女和儿童。
1930年夏天,在她的生活一段时间,她说“作为她的一个最有效的”,因为那时她最早的女性裸体画。就在她觉得最脆弱的时候,因为她离婚之前,它是正确的制度化。奈尔的主题改变;她从普通人的绘画肖像,家人,朋友,陌生人,和著名的女性裸体艺术评论家。西方的女性裸体艺术一直代表着“女人”,因为脆弱,匿名的,被动的,永恒的和典型的男性凝视的对象。然而,奈尔的女裸体反驳,“讽刺的观念和女性身体的标准。”通过这种鲜明对比这流行的理想主义的想法应该如何描绘女性身体的艺术,艺术历史学家相信她能从这个主流意识形态自由她的女模特,反过来给他们一个身份和权力。通过她使用“富有表现力的线条,充满活力的调色板,和心理强度”,奈尔不现实地描绘人类的身体,这是她能够捕获和突出模特的心理和内部的角度来看,现实的肖像。出于这个原因,现在许多艺术评论家形容奈尔的女裸体是真实和诚实的肖像,尽管当时的作品有争议的艺术世界,因为他们质疑女性的传统角色。换句话说,人们认为奈尔挑战规范的女性在家庭中所扮演的角色,从她的作品在日常生活中。
奈尔的一个著名的早期女性裸体肖像之一埃塞尔诉艾什顿(1930;在泰特现代美术馆博物馆,伦敦)。奈尔描绘她的学校的朋友,埃塞尔,尽可能多的艺术历史学家描述为“几乎瘫痪与自我意识自己的接触。”埃塞尔的尸体被暴露在一个蹲坐着的位置,在那里她可以直接看观的眼睛。埃塞尔的眼睛一般被描述为“灵魂”,表达一种恐惧。奈尔画她的朋友通过扭曲,添加到“脆弱和恐惧”的想法。图像的奈尔说:“她的生活几乎道歉。看看所有的家具,她把所有的时间。“通过家具艺术家”指她沉重的大腿,膨胀的胃,下垂的乳房。”正式的绘画元素,光与影,笔触,建议添加感伤和颜色和幽默,但是他们做的工作以精确的方式来传达某种语气,这是弱点。这幅画表现出43年后的校友展览,它严重受到许多艺术评论家和公众的批评。收到的反应,这幅画是一个公司不喜欢,因为它被认为是违背女性裸体是如何规范描述。埃塞尔,女性裸体上看到的显示和“愤怒出走。”女性裸体的特定的绘画性和谄媚的对女性的形式。然而,奈尔的目标不是油漆女性的身体以一种理想主义的方式,她想画真实和诚实的方式。出于这个原因,她认为自己是一个现实主义画家。
奈尔的第二个儿子,哈特利,出生于1941年,奈尔和她的情人,共产主义知识分子山姆·布罗迪。在1940年代,奈尔为共产党出版做的插图,大众和主流从她的住宅区,继续画肖像。然而,在1943年工程进度管理停止使用奈尔,使艺术家更难支持她的两个儿子。在这段时间里奈尔会偷东西,在福利来维持生计。从1940年到1950年,奈尔从画廊的艺术几乎消失了,除了一个在1944年个展。在1950年代,奈尔的友谊迈克金和他对社会现实工作获得她在共产主义新剧作家戏剧。1959年,奈尔甚至做了一个电影导演后外观罗伯特•弗兰克让她与一个年轻的出现艾伦金斯堡在他的经典影片垮掉的一代,把我的菊花。第二年,她的工作是第一复制艺术新闻杂志。
到1960年代中期,奈尔的许多女性朋友已经怀孕,启发她画一系列这些女人的裸体。奈尔认为怀孕是社会生活的基本事实,一个女人的生活中忽视了这一重要阶段。肖像如实突出而不是隐藏的生理变化和情感焦虑与分娩共存。当她问她为什么裸体画怀孕,奈尔说,
奈尔选择油漆的生活“基本事实”并强烈认为这种形式的主题是配得上画裸体,这是什么使她在她的其他艺术家。提出的孕妇裸体艺术史学家安Temkin,让奈尔“崩溃假想的二分法,极化女性贞洁的麦当娜或危险的妓女”的幽灵普通女性的肖像,一看到周围,而不是艺术。
她的一个著名的作品描绘了一个怀孕的女性裸体的肖像玛格丽特·埃文斯怀孕(1978),现在在一个私人收藏。玛格丽特是正直人坐在椅子上,强迫她让她怀孕的肚子,在画布上成为焦点。身后的椅子上一面镜子被允许观众看到的她的头部和颈部。然而,镜像反射不像玛格丽特额肖像。这幅画的动机这一特殊部分仍然未知,但相信“镜像图像是不可思议的双保姆和艺术家,预示老年。“艺术历史学家像杰里米·刘易森假设反射是一个年长的和聪明的女人和猜测它可能是玛格丽特的组合和奈尔的反射。今天几个艺术评论家经常特征奈尔作为一个“艺术家社会学家。”通过她的肖像,奈尔将客观性与主观性,现实主义与表现主义导致的新流派肖像画。很重要的艺术家包括她“自己的反应”的艺术作品,知道她不能客观的观察者”。出于这个原因,一个人类学家/社会学家萨拉劳伦斯·莱特福特认为,“奈尔定位她的模特与自己改变的局面。”[19]因此,它是巧合奈尔包括一个老女人的裸体怀孕图背后的反射在镜子里。
奈尔画自己在她八十年的生活中,坐在一把椅子在她的工作室。她全裸的呈现。她戴着眼镜,握着她的右手画笔和一个旧布另一方面。白她的头发的颜色和她的几个折痕和折叠裸露的皮肤表明了她的年龄。在画自己坐在椅子上她的身体面对远离观众,头转向观众。肖像是在1980年完成,但她已经开始把它漆成五年前,在放弃之前一段时间。然而,她鼓励她的儿子理查德来完成它,回到在80年代早期,她也被邀请参加一个展览的自画像哈罗德·里德画廊在纽约。当奈尔的非传统的自画像展示它引起了相当大的关注。奈尔画自己真实地暴露了她下垂的乳房和腹部每个人都能看到。又一次在她最后的绘画,她挑战了社会规范中描述的可接受的是什么艺术。她的自画像是她最后的一个杰作,直到她去世。1984年10月14日,奈尔和她的家人在纽约公寓死于结肠癌。
戏剧海报的纪录片“爱丽丝奈尔”
1960年代末,奈尔的工作愈演愈烈的兴趣。妇女运动的势头导致注意力,增加和奈尔成为一个图标女权主义者。1970年,她被委托油漆女权主义活动家凯特·米勒特的封面时间杂志。米勒特奈尔拒绝坐;因此,杂志封面是基于一个照片。
到1970年代中期,奈尔得到了名人和地位作为一个重要的美国艺术家。1979年,美国总统吉米•卡特送给她一个全国妇女艺术的核心业绩奖。奈尔的声誉当时在其鼎盛时期的1984年她去世。
奈尔的生活和作品特色的纪录片爱丽斯奈尔,在2007年首映Slamdance(独立艺术节)电影节还是由她的孙子,安德鲁·奈尔。这部电影被纽约4月公映的那一年。
1943年,奈尔的女性裸体肖像埃塞尔·阿什顿的校友为第一次展览,展出绘画成立13年之后,和接受残酷的艺术评论家和公众的批评。1974年,奈尔的作品的回顾展惠特尼美国艺术博物馆,死后,在2000年的夏天,也在惠特尼。1980年,她被邀请参加一个展览的自画像哈罗德·里德画廊在纽约,在她的自画像是首次展示。第一个展览致力于奈尔的作品在欧洲在2004年在伦敦举行维多利亚米罗美术馆。杰里米·刘易森,他在工作泰特集合的馆长。2001年,费城艺术博物馆组织了一个名为爱丽丝奈尔回顾她的艺术。她是回顾性的主题名为爱丽丝奈尔:画真理举办的美术博物馆,休斯顿在德克萨斯州,展出于3月21日至6月15日,2010年。展览前往白教堂画廊、伦敦和larsnittve马尔默,马尔默、瑞典。2013年,第一个主要表现艺术家的水彩画和图纸视图诺蒂斯卡Akvarellmuseet在Skarhamn,瑞典。摩尔艺术学院举办的个展女校友奈尔在1971年的工作。
Alice Neel was born on January 28, 1900, in Merion Square, Pennsylvania to George Washington Neel, an accountant for the Pennsylvania Railroad, and Alice Concross Hartley Neel. In mid-1900, her family moved to the rural town of Colwyn, Pennsylvania.Young Alice was the fourth of five children, with three brothers and a sister. Her oldest brother, Hartley, died of diphtheria shortly after she was born. He was only eight years old. She was raised into a straight-laced middle-class family during a time when there were limited expectations and opportunities for women.[2][6] Her mother had said to her, "I don't know what you expect to do in the world, you're only a girl.
In 1918, after graduating from high school, she took the Civil Service exam and got a high-paying clerical position in order to help support her parents.After three years of work, taking art classes by night in Philadelphia, Neel enrolled in the Fine Art program at the Philadelphia School of Design for Women (now Moore College of Art & Design) in 1921.[8] She graduated in 1925.[2][6] Neel often said that she chose to attend an all-girls school so as not to be distracted from her art by the temptations of the opposite sex.
She met an upper-class Cuban painter in 1924 named Carlos Enríquez at the Chester Springs summer school run by PAFA. They were wed on June 1, 1925, in Colwyn, Pennsylvania.[8] After marrying, Neel eventually moved to Havana[2][6] to live with Enríquez's family. In Havana, Neel was embraced by the burgeoning Cuban avant-garde, a set of young writers, artists and musicians. In this environment Neel developed the foundations of her lifelong political consciousness and commitment to equality.[citation needed]During this time, she had seven servants and lived in a mansion.[2]
Neel's daughter, Santillana, was born on December 26, 1926, in Havana.In 1927, though, the couple returned to the United States to live in New York. Just a month before Santillana's first birthday, she died of diphtheria. The trauma caused by Santillana's death infused the content of Neel's paintings, setting a precedent for the themes of motherhood, loss, and anxiety that permeated her work for the duration of her career. Shortly following Santillana's death, Neel became pregnant with her second child.[8] On November 24, 1928, Isabella Lillian (called Isabetta) was born in New York City.[8] Isabetta’s birth was the inspiration for Neel's "Well Baby Clinic", a bleak portrait of mothers and babies in a maternity clinic more reminiscent of an insane asylum than a nursery.
In the spring of 1930, Carlos had given the impression that he was going overseas to look for a place to live in Paris. Instead, he returned to Cuba, taking Isabetta with him. Mourning the loss of her husband and daughter, Neel suffered a massive nervous breakdown, was hospitalized, and attempted suicide. She was placed in the suicide ward of the Philadelphia General Hospital.
Deemed stable almost a year later, Neel was released from the sanatorium in 1931 and returned to her parents' home. Following an extended visit with her close friend and frequent subject, Nadya Olyanova, Neel returned to New York.
There Neel painted the local characters, including Joe Gould, whom she famously depicted in 1933 with multiple penises, which represented his inflated ego and "self-deception" about who he was and his unfulfilled ambitions. The painting, a rare survivor of her early works, has been shown at Tate Modern.
During the Depression, Neel was one of the first artists to work for the Works Progress Administration.[9] At the end of 1933,[citation needed] Neel was hired to make a painting every six weeks. She had been living in poverty.[6] She had an affair with a man named Kenneth Doolittle who was a heroin addict and a sailor. In 1934, he set afire 350 of her watercolors, paintings and drawings.[2][nb 1] At this time, her husband Carlos proposed to reunite, although in the end the couple neither reunited nor officially filed for divorce.
Her world was composed of artists, intellectuals, and political leaders of the Communist Party, all of whom became subjects for her paintings.[citation needed] Her work glorified subversion and sexuality, depicting whimsical scenes of lovers and nudes, like a watercolor she made in 1935, Alice Neel And John Rothschild In The Bathroom, which showed the naked pair peeing.[2] In the 1930s Neel gained a degree of notoriety as an artist, and established a good standing within her circle of downtown intellectuals and Communist Party leaders. While Neel was never an official Communist Party member, her affiliation and sympathy with the ideals of Communism remained constant. In the 1930s, Neel moved to the Spanish Harlem and began painting her neighbors, specifically women and children.
The summer of 1930 was a period in her life that she described "as one of her most productive" because that was when she painted her earliest female nudes. It was during the time when she felt most vulnerable because of her divorce and it was right before she was institutionalized. Neel's subject matter changed; she went from painting portraits of ordinary people, family, friends, strangers, and well-known art critics to female nudes. The female nude in Western art had always represented a "Woman" as vulnerable, anonymous, passive, and ageless and the quintessential object of the male gaze.[11] However, Neel's female nudes contradicted and "satirized the notion and the standards of the female body." By this sharp contrast to this prevailing idealistic idea of how the female body should be portrayed in art, art historians believe that she was able to free her female sitters from this prevailing ideology that in turn gave them an identity and power. Through her use of "expressive line, vibrant palette, and psychological intensity", Neel did not depict the human body in a realistic manner; it was the way she was able to capture and dignify her sitters' psychological and internal standpoint that made the portraits realistic. For this reason, many art critics today describe Neel's female nudes as truthful and honest portraits, although at the time the works were controversial in the art world because they questioned women's traditional role. In other words, it is believed that Neel challenged the norms of women's role in the household and in everyday life from her paintings.
One of Neel's well-known early female nude portraits is the one of Ethel V. Ashton (1930; in Tate Modern Museum, London). Neel depicted her school friend, Ethel, as many art historians described as "nearly crippled with self conscious by her own exposure."[12] Ethel's body was exposed in a crouched seated position, where she was able to look the viewer directly in the eye. Ethel's eyes were commonly described as "soul full" and expressing a sense a fear. Neel painted her friend through a distorted scale that added to the idea of "vulnerability and fearfulness". Neel said of the image: "She's almost apologizing for living. And look at all the furniture she has to carry all the time." By furniture the artist "referred to her heavy thighs, bulging stomach, and pendulous breasts." The formal elements of the painting, light and shadow, the brushstrokes, and the color are suggested to add pathos and humor to the work but they are done in a precise manner to convey a certain tone, which is vulnerability. The painting was exhibited 43 years later at the Alumni Exhibition, where it was severely criticized by many art critics and the general public.[11] The reaction that the painting received was a firm dislike as it was thought it was going against the norms of how female nudes were supposed to be depicted. Ethel, the female nude, saw it on display and "stormed out of rage." The particular painting of the female nude was neither sexual nor flattering to the female form. However, Neel's aim was not to paint the female body in an idealistic way, she wanted to paint in a truthful and honest manner. For this reason she thought of herself as a realist painter.
Neel's second son, Hartley, was born in 1941 to Neel and her lover, the communist intellectual Sam Brody. During the 1940s, Neel made illustrations for the Communist publication, Masses & Mainstream, and continued to paint portraits from her uptown home. However, in 1943 the Works Progress Administration ceased working with Neel, which made it harder for the artist to support her two sons.[14] During this time Neel would shoplift and was on welfare to help make ends meet.Between 1940 and 1950, Neel's art virtually disappeared from galleries, save for one solo show in 1944. In the 1950s, Neel's friendship with Mike Gold and his admiration for her social realist work garnered her a show at the Communist-inspired New Playwrights Theatre. In 1959, Neel even made a film appearance after the director Robert Frank asked her to appear alongside a youngAllen Ginsberg in his classic Beatnik film, Pull My Daisy. The following year, her work was first reproduced in ARTnews magazine.
By the mid-1960s, many of Neel's female friends had gotten pregnant which inspired her to paint a series of these women nude. Neel believed that pregnancy was a basic fact of life and that society neglected this important stage in a woman's life.[16] The portraits truthfully highlight instead of hiding the physical changes and emotional anxieties that coexist with childbirth. When she was asked why she painted pregnant nudes, Neel replied,
Neel chose to paint the "basic facts of life" and strongly believed that this form of subject matter is worthy enough to be painted in the nudes, which was what distinguished her from other artists of her time. The pregnant nudes suggested by the art historian, Ann Temkin, allowed Neel to "collapse the imaginary dichotomy that polarizes women into the chaste Madonna or the specter of the dangerous whore"[16] as the portraits where of ordinary women that one sees all around, but not in art.
One of her well-known works that depicted a pregnant female nude is the portrait of Margaret Evans Pregnant (1978), now in a private collection. Margaret was painted while sitting on upright chair that forced her to expose her pregnant stomach even more, which became the central point in the canvas. Right behind the chair a mirror was placed which allowed the viewer to see the back of her head and neck. However, the mirrored reflection did not look anything like Margaret frontal portrait. The motive behind this particular section of the painting remains unknown but it is believed that "The mirrored image is an uncanny double of the sitter and the artist, presaging older age." Art historians like Jeremy Lewison assume that reflection is of an older and wiser woman and hypothesized that it might have been a combination of Margaret and Neel's reflection.[18] Several art critics today have frequently characterized Neel as a "sort of artist –sociologists."[19] Through her portraits, Neel was able to merge objectivity with subjectivity, realism with expressionism that resulted to a new genre of portraiture. It was important to the artist to include her "own response" to the art work and knew that she could not be an objective observer." [19] For this reason, an anthropologists/ sociologist Sara Lawrence Lightfoot believes that "Neel positioned her sitters in relation to her own changing situation."[19] Therefore, it was no coincidence that Neel included an old women's reflection in the mirror behind the naked pregnant figure.
Neel painted herself in her eightieth year of life, seated on a chair in her studio. She presented herself fully nude. She wore her glasses and held her paintbrush on right hand and an old cloth on the other hand. The white color of her hair and the several creases and folds of her bare skin indicated her old age.[16] As she painted herself seated on the chair her body faced away from the viewer while head was turned towards the viewer. The portrait was completed in 1980 but she had started to paint it five years earlier, before abandoning it for a period of time. However, she was encouraged by her son Richard to complete it and came back to in her early 80s as she was also invited to take part in an exhibition of Self-Portraits at the Harold Reed Gallery in New York.[16] When Neel's unconventional self-portrait was showcased it attracted considerable attention.[16] Neel painted herself in a truthful manner as she exposed her saggy breasts and belly for everyone to see. Yet again in her last painting, she challenged the social norms of what was acceptable to be depicted in art. Her self-portrait was one of her last masterpieces before she died. On October 14, 1984, Neel died with her family in New York City apartment from advanced colon cancer.[12]
Toward the end of the 1960s, interest in Neel's work intensified. The momentum of the women's movement led to increased attention, and Neel became an icon for feminists. In 1970, she was commissioned to paint the feminist activist Kate Millett for the cover of Time magazine. Millett refused to sit for Neel; consequently, the magazine cover was based on a photograph.[20]
By the mid-1970s, Neel had gained celebrity and stature as an important American artist. In 1979, President Jimmy Carter presented her with aNational Women's Caucus for Art award for outstanding achievement. Neel's reputation was at its height at the time of her death in 1984.
Neel's life and works are featured in the documentary Alice Neel, which premiered at the 2007 Slamdance Film Festival and was directed by her grandson, Andrew Neel. The film was given a New York theatrical release in April of that year.
In 1943, Neel's female nude portrait of Ethel Ashton was exhibited at Alumni Exhibition for the very first time, 13 years after the painting was created, and received brutal criticisms from art critics and the general public.In 1974, Neel's work was given a retrospective exhibition at theWhitney Museum of American Art, and posthumously, in the summer of 2000, also at the Whitney. In 1980 she was invited to take part in an exhibition of Self-Portraits at the Harold Reed Gallery in New York, where her self-portrait was showcased for the first time. The first exhibition dedicated to Neel's works in Europe was held in London in 2004 at the Victoria Miro Gallery. Jeremy Lewison, who had worked at the Tate, was the curator of the collection.In 2001 the Philadelphia Museum of Art organized a retrospective of her art entitled Alice Neel.She was the subject of a retrospective entitled Alice Neel: Painted Truths organized by the Museum of Fine Arts, Houston in Texas, which was on view from March 21 to June 15, 2010. The exhibition traveled to Whitechapel Gallery, London, and Moderna Museet Malmö, Malmö, Sweden. In 2013, the first major presentation of the artist's watercolors and drawings was on view at Nordiska Akvarellmuseet in Skärhamn, Sweden.Moore College of Art hosted a solo exhibition of alumna Neel's work in 1971.
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
