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TOP代写essay- Appreciation of the artwork “Bombardment”

文章类型:essay 发布时间:2019-10-07

艺术品“轰炸(1937)”现在是美国宾夕法尼亚州费城的费城艺术博物馆保留的,是菲利普·古斯顿(Philip Guston,1913-1980年)的油画颜料。 1936年,第二次世界大战在欧洲酝酿中。许多美国艺术家并未对法西斯主义的兴起和入侵视而不见。在得知1936年西班牙内战期间发生暴行并造成数千人死亡和受伤之后,古斯顿还谴责了这场战争的残酷性并给轰炸画上了烙印。油漆描绘了佛朗哥战机的空中轰炸,以哀悼被战争夺走的生命。
The artwork “Bombardment (1937)”, which is now reserved in Philadelphia Museum of Art, Philadelphia, PA, USA, is an oil paint by Philip Guston (1913-1980). In 1936, the Second World War is brewing in Europe. Many American artists did not turn a blind eye to the rise and invasion of fascism. After hearing that atrocities carried out during the Spanish Civil War in 1936, resulting in thousands of death and wounded, Guston also condemned the cruelty of the war and painted Bombardment. The paint depicts the aerial bombardment by Franco’s warplanes, to mourn the life that was taken away by the war.
站在艺术品前,您可以听到尖叫声,感受到惊慌和恐慌的气氛,并见证了平民为赢得最后生存机会所做的最后努力。男女老少皆宜,血肉against绕的铁炸弹使人们想起毕加索的艺术品“格尔尼卡”。仔细研究艺术品,每条线条和每一种色彩都在讲述战争的故事,并冻结了这张画布纸的关键时刻。
Standing in front of the artwork, you can hear the voice of screaming, feel the atmosphere of alarm and panic, and witness the final effort of the civilians to win a last chance of living. Man and woman, old and young, flesh and blood against the iron bombers, which remind people the artwork “Guernica” of Picasso. Carefully studying the artwork, each draw of line and each touch of color is telling the story of war and freezing the crucial moment to this piece of canvas paper.
艺术品中有许多挥舞的线条,弯曲的线条。您很快发现没有垂直线或水平线,它们回复了动荡不安的气氛。从某种意义上说,艺术品可以分为两部分:前一部分和背景。前一部分的线条清晰细腻:女人的衬衫就像波浪;油漆中央右侧带面具的男人的红色斗篷,左上角的男人的浅棕色斗篷都像水,下半角的裸体男人的深褐色头发像水一样在曲线上。从一侧看,这些线表明人物正在快速逃脱轰炸。另一方面,这些线条营造出一种紧张和躁动的感觉。在背景中,采用了非常模糊的线条(包括灰色,白色,浅棕色)来描绘爆炸。正面的清晰度和背景的模糊形成鲜明对比。球形也是涂料中经常使用的线型,例如女人的臀部,骷髅面具,可以表达力量感。
There are many waving lines, curved lines in the artwork. You find fast no vertical or horizontal lines, which reply an atmosphere of turmoil and turbulence. In one sense, the artwork can be divided into two parts: the former part and the background. The line of the former part is clearly and delicately defined: the shirt of the woman is like waves; the red cloak of the man with mask on the right in the central part of the paint, and the light brown cloak of the man at the corner of upper left are both like water, the dark brown hair of naked man at the corner of lower is in curve. From one side, these lines show that the figures are fast running to escape the bombing; from the other side, these lines create a feeling of tense and restlessness. In the background, very vague lines, which consist of grey, white, light brown, are adopted to depict the bombing. The clearness in the front and vagueness in the background contrast sharply. Spherical is also an oft used line type in the paint, like the hips of the woman, the skull mask, which express the feeling of power.
特别令我印象深刻的是,这种油漆使用传统的圆形格式,这在意大利文艺复兴时期的绘画中通常被广泛使用。圆形格式营造了画家远距离观看的气氛。这种对比使战争的关键变得更加重要。此外,古斯顿试图从上帝的角度出发,对世界战争而不是西班牙战争进行更普遍的抗议。由于是圆形,左侧的砖墙和右侧的建筑物都是扭曲的,就像战争中扭曲的世界一样。
What especially impresses me is that, the paint uses the traditional circle format, which is typically and widely used in the time of Italian Renaissance paintings. The circle format creates the atmosphere that the painter is watching with a distance. This kind of contrast makes the crucial of war even more. Besides, using the visual angle of God, Guston tried to create a more universal protest against war in the world rather than the war in Spain. Because of the circle format, the brick-red wall on the left side and the building on the right side are both twisted, just like the twisting world in the war.
从质量的角度来看,艺术品运用了视觉视角的规律-单点视角,创造了三维效果。整条街道被炸弹的尘土和火覆盖着,炸弹的点正好在油漆的中心,就像龙卷风一样,吸力很强。万物可以在无尽的黑暗中被吸。作品是平坦的,但是艺术家运用他的技能创造了空间深度的幻觉。
From the aspect of mass, the artwork uses the laws of visual perspective——one-point perspective, creating an effect of three-dimensional. The whole street is covered up by the dust and fire of bombing, the point of bombing is just in the very center of the paint, like tornado with strong suction power. Everything can be sucked in the endless darkness. The work is flat, but the artist uses his skill and created the illusion of spatial depth.
从塑造图形的角度来看,油漆中没有显示完整的面孔。每个人都回头看看爆炸的过程。这种细节使油漆充满运动感。尽管我们看不到人物的面孔,但仍然可以感受到他们的恐惧。
From the perspective of shaping the figures, there are no complete faces showed in the paint. Everyone is turning back to see the process of explosion. This kind of detail lets the paint full of motion. Although we can’t see the faces of the figures, but still can feel their fear.
该涂料采用明暗对比:明暗对比,包括天空,街道,墙壁和建筑物在内的背景为灰色,前方空气中有五个数字在光照下,它们不是自然地被阳光照亮,而是由轰炸。因为我们可以清楚地检测到天气多云。油漆中最暗的区域是天空,最浅的区域是油漆中部和下部的三个图形,这对我来说意味着人类充满荣耀,战争必死无疑。
The paint adopts chiaroscuro: a contrast of light and dark, the background including the sky, the street, the wall and the building is grey, five figures in the front air in light, which are not naturally enlightened by sunlight but by the fire of bombing. Because we can clearly detect that the weather is cloudy. The darkest area in the paint is the sky, the lightest area are the three figures in the middle und lower part of the paint, which means for me that, humans are full of glory, war is to damn.
观察图片中的颜色时,我可以看到红色,浅棕色,蓝色,绿色,砖红色。红色,绿色和浅棕色在油漆中占很大的面积。这些颜色通常是明亮的,但是Guston使用了色调或阴影来使它们更暗和更冷。我们可以感觉到油漆中的这些数字来自生动的现实生活,现在已经被灰色阴影覆盖。
When observing the colors in the picture, I can see red, light brown, blue, green, brick red. Red, green and light brown take up big area in the paint. These colors are normally bright, but Guston used tints or shades of the colors, making them darker and colder. We can feel that these figures in the paint are coming from a vivid real life, which is now covered with grey shadow.
艺术家统一了线条,光,颜色,形状,运动的元素,创造了整个涂料的平衡-运动与静态的平衡,暗与光的平衡,色彩的平衡。平衡在于工作的完整性。由于整体结构是圆形的,因此,如果仅将其中一部分取出,则平衡是不可行的。穿着绿色裙子的女人和穿着红色斗篷的男人比油漆中的其他三个人物重,这使得左侧和右侧的力量几乎相等。左右两侧,上下两侧都差不多
The artist unifies the elements of lines, light, color, shapes, motion and created the balance of the whole paint——balance of motion and static, balance of dark and light, balance of colors. The balance exists in the integrity of the work. As the overall structure is round, if we only take a part of it out, the balance is broken. The woman in green skirt and the man in red cloak are heavier than the other three figures in the paint, making the power on the left and right side almost equivalent. The right and left sides, the upper and under sides are almost symmetrical balance. It gives people a first impression of messy balance, namely a balance in a mess.
从整个涂料来看,对比度从三个方面使涂料令人印象深刻。首先,前面的人物以细腻的线条,大色块和光线来强调,这与背景,左侧的墙壁和右侧的建筑物,奔跑的人背后的轰炸,天空,在街上奔跑的人,颜色都是深色的。深色使该区域不显眼,并用于显示前面的图形。其次,人群的恐慌与有序安排的轰炸机形成了鲜明的对比,让我感到轰炸机的野蛮和平民的无助。第三,油漆中的数字部分是裸露的,部分是穿着得体的,这表明爆炸的发生没有预料。抱着母亲的孩子仍在睡觉。外来世界的喧闹与孩子的安静形成了鲜明的对比。作品捕捉了战争的一瞬间,即炸弹爆炸了。时间是静止的,但会让人流连忘返。
From the whole paint, contrast makes the paint very impressive from three aspects. Firstly, the figures in the front are emphasized with delicate lines, large color blocks, light, which makes contrast to the background, the wall on the left side and the building on the right side, the bombing behind running people, the bombers in the sky, the running people on the street, which are in dark color. The dark color makes this area not prominent, and serves to manifest the figures in the front. Secondly, the panic of the crowd is a contrast to the orderly arranged bombing aircrafts, letting me feel the barbarism of the bombers and the helplessness of the civilians. Thirdly, the figures in the paint are partly naked and partly well dressed, which indicates that the explosion occurred without prediction. The child in the arm of his mother is still in sleep. The noisy of the outsider world and the quiet of child form sharp contrast. The work captured a single moment of the war, namely the bombe is exploding. The time is static but creates a feel of flowing.
总而言之,在元素的排列下,这种涂料揭示了平民的苦难以及他们在钢铁武器和战争面前的渺小。和平应该保留下来,否则,人类将陷入深深的黑暗。
All in all, with the arrangement of elements, this paint reveals the misery of the civilian and their tiny in front of the iron weapons and the war. Peace should be good reserved, otherwise, the human being will fall into deep darkness.

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