艺术

Edvard Munch鲜为人知,高度个人摄影

芒奇的照片表现出一种未完成的顽皮,技术手法和主题在他更著名的作品中并不容易看到。

爱德华芒奇“国家纪念碑模型的自画像,Krager_”(1909-19010年)original gelatin silver contact print (image courtesy Munch Museum)

It's hard to view the work in实验自我:埃德瓦尔德蒙奇的摄影,斯堪的金博宝188app纳维亚之家正在展出的展览,以任何公正的方式,to evaluate it separately from爱德华·蒙克更著名的作品。The photographs and film shown here are largely of interest because they were created by Munch,1893年创作的The Scream"是先见之明,存在异化的神秘例子,a theme much explored in 20th-century art.

爱德华芒奇“侧面朝右的帽子自画像”(1930年)original gelatin silver contact print (image courtesy Munch Museum)

纽约正在大吃一惊。同时举办斯堪的纳维亚房屋展,金博宝188appthe Metropolitan Museum'sEdvard Munch: Between the Clock and the Bedframes Munch's career using his late work,尤其是画”自画像:在时钟和床之间”(1940–43),completed a year before he died.许多图像实验自我are also self-portraits,尽管它们在技术操作和主题方面表现出一种未完成的顽皮,但在芒奇更著名的作品中却不那么容易看到。这位艺术家经常以倍数创作自己的摄影作品;for example,“Self-Portrait in a Hat in Profile Facing Right"(1930)是一组类似作品的一部分,每个都是从不同的角度拍摄的。

除了对连续性的迷恋之外,Munch's photos demonstrate an interest in the spooky possibilities of photography — the use of technical manipulation to obscure rather than to capture verisimilitude.“Edvard Munch and Rosa Meissner in Warnemünde"(1907),系列之一,shows its subjects overexposed,concealing detail.此外,图像翻倍,so that the ghosts of its subjects appear to be standing directly behind them.

爱德华芒奇 Edvard Munch和Rosa Meissner在Warnem_nde(1907年)o原始明胶银接触印
(图片由芒奇博物馆提供)

工作在实验自我最有趣的是当摄影对象与相机进行更为私人和直接的互动。“Self-Portrait ‘à la Marat,' Beside a Bathtub at Dr.Jacobson's Clinic"(1908-1909)不仅是对雅克·路易斯·大卫1793年的画作的一种恭维。The Death of Marat但也有点怪诞的半裸的艺术家盯着摄像机看,暗示身体暴力感觉像是真正的情感不安全的时刻。

Not all of the images are probing or morose.展览墙的金博宝188app文字有趣地提出了“自拍”,而芒奇的一些作品确实有一种虚荣和顽皮的感觉,令人吃惊的当代。在“Edvard Munch Posing Nude in Åsgårdstrand" (1903),the artist stands nude,sword in hand and hand on hip,a humorous spoof of European portraiture — here the royal subject has no clothes.In general,Munch seems more aware of the power of the camera to create a "self" than one might imagine an individual born in the mid-19th century to be.每一代人都觉得自己比前几代人更能自我意识到技术的变革性应用。面对那些让人质疑这一假设的形象是令人振奋的谦卑。

爱德华芒奇“ Self-Portrait ‘à la Marat,' Beside a Bathtub at Dr.Jacobson's Clinic" (1908-09) (image courtesy Munch Museum)

实验自我当然不能证明芒奇是一个摄影或电影天才。(A short home movie,taken on a Pathé-Baby camera,seems a pretty standard piece of home amateur filmmaking;它探索了电影摄影机是如何捕捉运动和视角的。)然而,实验自我芒奇当然很人性化。它显示了艺术家作为一个有趣的人,and also demonstrates his work in a medium in which he was less facile.These works are not finished products — it should be mentioned that they were not exhibited during his lifetime —因此,拉回这个艺术家创作过程中更混乱的部分的帷幕,a valuable 金博宝188appexhibition end in and of itself.

Installation view of 实验自我:埃德瓦尔德蒙奇的摄影 at Scandinavia House
爱德华芒奇“埃德瓦德·芒奇在《黑道》(1903年)中裸照,original Collodion contact print
(图片由芒奇博物馆提供)
爱德华芒奇“戴着眼镜的自画像坐在Ekely的两幅水彩画前”(约1930)原始明胶银接触印刷品(图片由Munch博物馆提供)

实验自我:埃德瓦尔德蒙奇的摄影continues at Scandinavia House (58 Park Ave,Midtown East,曼哈顿)到3月5日。

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