何多苓

章节摘录

版权页：   插图：    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?

书籍目录

一对一的观看还有多远？——何多苓的新作解读 其实绘画就是一种快乐——何多苓与欧阳江河的对谈 图版 春风已经苏醒 青春 小翟 塔 窗前的女人 海滩 迷楼系列——春 迷楼系列——夏 迷楼系列——秋 迷楼系列——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 窥视 后窗（二） 后窗（三） 后窗（四） 后窗（五） 母亲 小柯 青春2D07 小翟和龙舌兰——向弗里达·卡洛致敬 红袜子 落叶 夜奔 小绿人 重返克里斯汀娜的世界 双人肖像 泉 珀尔修斯与龙 失乐园 兔子俄菲利亚 俄菲丽亚 乐园 肖像 空间 唯觉 梁焰 山边的女人 甲根坝 风景No.1 风景No.2 次生林 杂花写生之二 杂花写生之三 杂花写生之四 杂花写生之五 杂花写生之二十六 杂花写生之二十八 蔷薇 春天人物写生之一 野园 在水中 林中 克里斯汀娜以后的世界 沉睡的美人鱼 兔子的诞生 兔子下山 兔子想飞 兔子森林 兔子和飞毯 树上耍 兔子夏洛特 母女 舞者No.4 舞者No.9 偷走的孩子 小男孩在寻找他的声音 这个世界哭声太大，你不懂 出门未归的孩子 沼泽女儿 山水间 奔跑的女人 风中的女孩 无题 凯文 欢欢 小刘 连环画《雪雁》之二十八 连环画《雪雁》之四 连环画《雪雁》之二十四 连环画《雪雁》之二十六 连环画《雪雁》之二十二 连环画《带阁楼的房子》之九 连环画《带阁楼的房子》之十 连环画《带阁楼的房子》之四 连环画《带阁楼的房子》之十九 连环画《带阁楼的房子》之十一 连环画《带阁楼的房子》之二十五 夏夜 小翟 自画像 肖像 肖像 彝族人 祖母像 彝族人 素描 素描 人体 编者后记

编辑推荐

《中国油画名家:何多苓》由吉林美术出版社出版。

作者简介

本书收录了春风已经苏醒、青春、塔、海滩、窗前的女人、午后、窥视、小柯、双人肖像、失乐园等作品。

图书封面

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