Academic Nude, Seen from the Back

从背面看学术裸体

Paul Cézanne 保罗·塞尚
A work made of charcoal and black chalk, with stumping and erasing, and graphite sketches and notations, on tan laid paper, laid down on heavy tan wove paper.
*可双指放大查看

Academic Nude, Seen from the Back, 1862

属性

一种用木炭和黑粉笔做成的作品,用树桩和抹去,用石墨素描和记号,放在棕褐色的纸上,放在厚重的棕褐色编织纸上。

A work made of charcoal and black chalk, with stumping and erasing, and graphite sketches and notations, on tan laid paper, laid down on heavy tan wove paper.

来自

法国

France

时间

1862

材质

炭笔和黑粉笔,用树桩和抹去,石墨素描和记号,放在棕褐色的纸上,放在厚重的棕褐色编织纸上

Charcoal and black chalk, with stumping and erasing, and graphite sketches and notations, on tan laid paper, laid down on heavy tan wove paper

尺寸

627 × 435 mm

来源

多萝西·布劳德·爱丁堡送给哈里·布劳德和贝西·布劳德纪念收藏

Gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection

从裸体画生活是严格的学术训练的一个组成部分,艺术家可能在传统上接受在巴黎和其他主要城市在19世纪。只有从刻板的复制版画和石膏模型开始仿制古董后,学生才能合格,通常是男性,进入裸体模特。这些会议所产生的高度完成的绘画作品在对浮雕的定义上回溯到古典雕塑,通常更多地展示了这些年轻艺术家各自的技术才能,而不是他们的创作潜力。保罗·塞尚和古斯塔夫·克里姆特的裸体画尤其难以被认作是亲笔签名,尽管它们强调了这些艺术家们走向成熟风格的戏剧性旅程。爱德华·伯恩·琼斯(Edward Burne Jones)的写生本裸体画在表面处理和寓言化倾向上都很出色,但在解剖学细节上却不那么严谨,而奥古斯特·罗丁(Auguste Rodin)裁剪过的女性形象则飘过书页,成为永恒女性主题的颂歌。相反,古斯塔夫·库尔贝(Gustave Courbet)的《模特阅读》(Model Reading)一书中的主题,在两次模特对话之间的安静反省中,表现出部分脱衣,而非完全裸体。

Life drawing from the nude was an integral part of the rigorous academic training an artist might traditionally receive in Paris and other major cities in the 19th century. Only after beginning with rote copying from prints and plaster casts after the antique would qualified, usually male, students progress to the nude model. The highly finished drawings that resulted from these sessions hearken back to Classical sculpture in their definition of relief and generally demonstrate more the respective technical aptitude of these young artists than their creative potential. Paul Cézanne and Gustav Klimt’s nudes are particularly difficult to recognize as autograph, although they underline the dramatic journey made by these artists to their mature styles. Luminous in surface handling and a tendency toward allegory, Edward Burne-Jones’ sketchbook nudes are less rigorous in their anatomical detail, while Auguste Rodin’s cropped female form floats across the page as an ode to the theme of eternal feminine. Conversely, the subject of Gustave Courbet’s Model Reading exhibits partial undress rather than complete nudity in a moment of quiet introspection between her modeling sessions.