Self portrait

自画像

Margaret Preston 玛格丽特.普雷斯顿
Painting
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Self portrait - Margaret Preston

属性

绘画

Painting

时间

1930

材质

布面油画

oil on canvas

尺寸

61.3 x 51.1 cm stretcher; 74.3 x 64.2 x 6.5 cm frame

版权

Gift of the artist at the request of the Trustees 1930 © AGNSW

这个享有盛誉的新南威尔士委员会美术馆巩固了普雷斯顿作为澳大利亚最杰出画家之一的声誉。这是一个宣传形象,一个女性肯定,专业和现代品味的图片。在20世纪20年代,画廊受托人委托10个著名画家的肖像,包括汤姆罗伯茨(1923年),亚瑟斯特雷顿(1923年),J穆尔奥德(1928年),W B麦克因斯(1928年),E a E纽伯里(1930年)和查尔斯惠勒(1930年)。普雷斯顿是第一位以这种方式获得荣誉的女艺术家,这一事实并没有被忽视。这是一个受欢迎的选择。她的花卉研究和静物画很畅销,并得到了广泛的推广。1927年12月出版的《澳大利亚艺术》(Art in Australia)专刊献给了普雷斯顿(Preston),两年后,她以《澳大利亚艺术》(Art in Australia)为一个成功的展览年画上了句号。普雷斯顿在战争前曾尝试过肖像画(她1911年去世后的凯瑟琳·海伦·斯彭斯肖像画,社会南澳大利亚美术馆悬挂着一位改革家和比例投票制的发明家。然而,正如她后来向《悉尼先驱晨报》(Sydney Morning Herald)的一位采访者解释的那样,她并没有追求这一类型,我放弃了这一类型,因为人们过去常常对这些相似之处发牢骚。坐在她成熟眼睛下的少数人,大概是那些不会发牢骚的人,比如她的女仆迈拉(Myra)和她的丈夫威廉·普雷斯顿(William Preston,1925)。那些认识普雷斯顿的人注意到她的肖像;。特丽妮娅·史密斯指出,她的眼睛盯着它——它们的强度——就好像它们在棍子上一样。美术馆馆长哈尔·米辛厄姆欣赏这个人物的自我包容,以及拇指握紧调色板的坚定性的伟大目的。。。一个砖墙背景,设置为4平方作为她的苏格兰字符。';普雷斯顿仔细地组成了她在一个浅空间的贸易工具:手和眼睛,调色板和刷子,花卉图案(一个愉快的科雷亚在一个陶土壶后面)。我们感受到普雷斯顿敏锐、睿智的目光和强烈的职业道德。正如她在《悉尼太阳报》上直言不讳地说的那样,是的,我的自画像完成了,但我是一位花卉画家——而我不是一朵花。普雷斯顿的自画像所展现的艺术个性在澳大利亚艺术史上是相对较新的。我们看到一个现代的,有思想的女人,见证了一场社会革命,普雷斯顿在其中扮演了不小的角色。她怎么想的?普雷斯顿这一代的女性基本上没有表现出我们在现代肖像画中所期待的艺术个性的心理深度。像毕加索或梵高这样的男性现代派艺术家,可以通过对心理或生存的自我审视来表现痛苦或狂喜、疏离甚至疯狂,但现代女性的自画像并没有给人太多的启示,也许女性艺术家觉得他们不能放松警惕。Preston也不例外。我们注意到没有女性的装饰和微妙的口红和胭脂的使用:&39;装饰没有装饰-足够或太多和39;引用普雷斯顿和39号;格言74.5号,她用调色板刀和刷子来做她的自画像,用一个精确的几何图形使构图变平。在战后流行的现代古典主义中,形式被减少了。这幅肖像与她1927年朴素的立体派静物画相呼应,而形状和色调对比的平衡图案将在她受原住民启发的花卉研究、静物画和风景画中得到进一步的延伸。普雷斯顿也许不认为自己是一朵花,但我不确定她是否真的把自己描绘成如果她是一个-也许是她的一个本地人。悉尼艺术评论家兼策展人特伦斯·马龙敏锐地注意到,这位艺术家是如何将桌面上的桌子拟人化的,鲜花和陶器像在生动的对话中一样聚集在一起。相反,我们可以想象普雷斯顿把自己描绘成她的一种插花:也就是说,在装饰上,注意构图、形状和颜色等正式设计原则的绘画效果。普雷斯顿认为,装饰是本世纪唯一值得瞄准的东西。。。它确实是一切的基调;。就像桉树和原住民的花一样(都是1928年的),她结构简单,有点新鲜(普雷斯顿看起来不像55岁的样子),边缘更脆(她卷曲的红色卷发是由一个整齐的卷发组成的)。普雷斯顿是澳大利亚本地人吗?伊丽莎白·巴特尔从她那黑色连衣裙的平面图案中描绘出她的脖子像一个实心的圆柱形花瓶;。悉尼画家苏珊诺里(Susan Norrie)在1985年对普雷斯顿(Preston)的无标题致敬中也有同样的想法,她将普雷斯顿(Preston)的控制画作形式描绘成一个紧紧绑在一起的胶坚果,从而使普雷斯顿(Preston)走上了全盛时期。也许是后来的女权主义者艺术家用手指轻轻地按压玻璃,直到它发出一点声音。黛博拉·爱德华兹的卡特里奥娜·摩尔和丹尼斯·米莫奇的《玫瑰皮》,悉尼新南威尔士美术馆,2005年

This prestigious Art Gallery of New South Wales commission clinched Preston's reputation as one of Australia's foremost painters. It is a promotional image, a picture of feminine affirmation, professionalism and modern tastemaking.Through the 1920s the Gallery trustees had commissioned portraits of ten 'notable painters', including Tom Roberts (1923), Arthur Streeton (1923), J Muir Auld (1928), W B McInnes (1928), E A E Newbury (1930) and Charles Wheeler (1930). Preston was the first woman artist to be honoured in this way, a fact that did not go unnoticed. It was a popular choice. Her flower studies and still lifes were selling well and had been extensively promoted. The December 1927 issue of 'Art in Australia' was devoted to Preston, and two years later she capped a successful exhibiting year with an Art in Australia 'gift set' publication Margaret Preston recent paintings.Preston had experimented with portraiture before the war (her 1911 posthumous portrait of Catherine Helen Spence, social reformer and inventor of the Hare-Spence system of proportional voting,hangs in the Art Gallery of South Australia). She did not pursue this genre, however, as she later explained to a Sydney Morning Herald interviewer, 'I gave it up because people used to grumble at the likenesses.' The few who sat under her mature eye were those who presumably would not grumble, such as her maid Myra ('Flapper' 1925) and her husband William Preston (1925). Those who knew Preston note the likeness of her 'Self portrait'. Treania Smith pointed out that 'You get her eyes in it – the intensity of them – as if they're out on sticks.' Gallery director Hal Missingham appreciated the figure's self-containment, the 'great purpose in the firmness of the thumb holding the palette ... a brick-wall background, set as 4-square as her Scottish character.'Preston carefully composed the tools of her trade in a shallow space: the hand and the eye, palette and brushes, the floral motif (a cheery correa in a terracotta pot behind her). We sense Preston's penetrating, intelligent gaze and strong work ethic. As she bluntly put to the Sydney Sun, 'Yes, my self portrait is completed, but I am a flower painter – and I am not a flower.'The artistic personality that Preston's self-portrait presents was relatively new in the history of Australian art. We see a modern, thinking woman, testimony to a social revolution in which Preston played no small part. So what did she think of? The women of Preston's generation did not, in the main, express the psychological depths of artistic individuality that we have come to expect in modern portraiture. Male modernists such as Picasso or van Gogh could perform the strip-tease of psychological or existential self-scrutiny to reveal pain or wild joy, alienation and even madness.But self-portraits by women moderns do not give much away; perhaps women artists felt that they could not afford to slip their guard. And Preston was no exception.We note the absence of feminine ornament and subtle use of lipstick and rouge: 'Decoration without Ornamentation – Enough or too much', to cite Preston's aphorism number 74.5 She worked her self-portrait with a palette knife and brush to flatten the composition with a precise geometry. Forms are reduced in the modernising classicism which was popular in the interwar years. The portrait carries a muted echo of her austere, cubist still lifes of 1927, while the balanced patterning of shapes and tonal contrasts will be further extended in her Aboriginal-inspired floral studies, still lifes and landscapes.Preston might not have seen herself as a flower, yet I am not so sure that she doesn't in fact paint herself as if she were one – one of her natives, perhaps. The Sydney art critic and curator Terence Maloon has astutely noted how the artist anthropomorphised her table-top tableaux, with flowers and crockery assembled together as if in animated conversation. Conversely, we could imagine that Preston paints herself as she would one of her floral arrangements: that is, decoratively, attending to the pictorial effects of formal design principles like composition, shape and colour. Decoration, Preston held, was 'the only thing worth aiming at [in] this century ... it really is the keynote of everything'. Like 'Eucalyptus' and 'Aboriginal flowers' (both 1928), she is simply structured, a little fresher (Preston does not look her 55 years), and crisper round the edges (her frizzy red hair composed in a neatly curled bob).Preston as an Australian native? Elizabeth Butel describes her neck rising 'like one of her solid cylindrical vases from the graphic flatness of her black dress'. Sydney painter Susan Norrie also thought as much in her untitled 1985 homage to Preston's 'Self portrait', going the Full Monty by rendering the artist's controlled pictorial form as a tightly bound gumnut. Perhaps it has taken a later generation of feminist artists to press fingers gently yet surely against the glass until it gives a little.Catriona Moore in Deborah Edwards and Rose Peel with Denise Mimmocchi, 'Margaret Preston', Art Gallery of New South Wales, Sydney, 2005

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