浅谈莫兰迪的论文题目

真是个另类的问题。。找的很辛苦又完整，要加悬赏啦Morandi's still lifes are beautiful, but with a distinctive kind of beauty: subterranean, germinating, the beauty of roots, seeds, relics, of things lost, then recovered, and soon to be lost their small size and plain components — bottles, jars, boxes, bowls, seashells — the paintings are emotionally isn't because of what they say outright about desire or fear, but because of what they don't say; because they are so evidently shaped by self-restraint, and the passions that produced one by one, the paintings are close studies in rhythm and they are seen in series, intricate rhyme schemes surface as objects change shape, placement and chromatic tone from picture to picture while keeping their basic is possible to think of all the still lifes in the Met show, which spans Morandi’s 50-year career, as stanzas of a single long poem, a kind of “Divine Comedy” of the tabletop, with epic but miniature heights and hells; a meditation on time, art, isolation, self-preservation and the ordinary mystery of all of comes with his own personal mystery, or myth, depending on what you is the tale of a deeply reclusive Italian artist who lives his whole life in a single apartment, from which he rarely goes he teaches printmaking in the local art school, he sees almost no one rarely travels, is unaware of public events around him, knows little of new art scant recognition of his art, he doggedly paints away in a tiny at-home studio to the end of his from both stories dovetail in the life of the real was born in Bologna, in northern Italy, into bourgeois studied art in the city and never moved from his family's apartment, which he shared with three unmarried he had a small bedroom, and adjoining it, an even smaller studio. He taught drawing and printmaking for decades, first in elementary schools, then at the city’s art academy. He had many friends among Bolognese artists and intellectuals, who acknowledged and extolled his work. Like many artists in Italy before World War II, he had passive brushes with Fascist politics, though the degree of his commitment remains a matter of conjecture. What is not in doubt is his single-minded devotion to his work, and the path he traveled to develop his student years he knew and revered the art of Cézanne; the earliest paintings at the Met attest to this. From 1913 comes a Mont Sainte-Victoire-ish landscape done at his family’s summer home; and from two years later, a variation on Cézanne’s “Five Bathers,” but with nudes that look as boneless, slippery, and compressed as sardines packed in oil. Thereafter, apart from a few youthful self-portraits — two are in the show — Morandi avoided the human he was looking at lots of figures, all the time. In 1910 he made his first trip to Florence and saw Giotto’s paintings, with their firm, blocklike, feet-on-the-ground bodies anchored in space. In Rome came another revelation: the fleshly miracles of Caravaggio. And at some point, somewhere, possibly in Urbino, he began a long relationship with the sun-bleached bodies and buildings of Piero della all of these artists, Morandi learned something. From Giotto and Caravaggio he learned how to create weight in painting. From Piero he learned about light and its drama. From Cézanne he took two things. One was the idea of nature as personal artifice, something you observed but then made up. The other was a piece of cautionary advice: “The grandiose grows tiresome.”Morandi is never grandiose, though he can be grand. And despite his repetition of themes, he is never wearing. I found myself waking up rather than winding down as I walked through the also included Corot and Chardin in this aesthetic start-up kit. And he took careful notice of his contemporaries. He checked out the Futurists. After meeting Carlo Carrà and Giorgio di Chirico, he briefly aligned himself with the movement or style called Pittura Metafisica, to which he contributed a few immaculately spacy still metaphysics, to the extent that it involved a belief or a program, was never of interest to him in art. And in the 1920s he moved on to painterly realism. The two self-portraits — virtually identical, expressionless, slightly hangdog — date from this time, as do landscapes dominated by houses with Piero-style light-washed the production of still lifes began in earnest, the first of which were thickly brushed and densely populated tableaus. Filled to the edges with bristling forms — skinny bottles, pots with sticking-out handles — they are done in nougat beiges and chocolate browns, bread and earth colors, interrupted by patches of mineral-red and cobalt repertory of studio props, salvaged from the family kitchen or bought secondhand, was more or less in place. It encompassed carafes of various sizes, jars, teapots, Ovaltine boxes and vases, with and without flowers. Some of these containers he customized, touched up with paint or covered with paper, to make them look generic, to call attention to their shape and items came and went. Strange clocks were prominent for a while, then disappeared. In the early 1940s there was a sudden infusion of seashells. With their irregular shapes, spectral colors and dangerous-looking protrusions, they introduced a disturbing, aggressive organism into Morandi’s pictorial world. It is surely no coincidence that the shells appear in paintings done at a time in World War II when Bologna was being Morandi’s still lifes from all periods can be visually unsettled and psychologically fraught. In a series from 1941, arrangements of bottles and vases, painted in tones of white and light gray and arrayed processionally across the canvas, suggest the serene, if icy, facade of a Doric temple, but with columns so closely placed as to prevent , in the 1950s, objects grow fewer and smaller in scale and tend to be centrally placed in stretches of empty space, an effect a little reminiscent of abstract, “cosmic” Wagner productions of the time. In some cases we view the arrangements at eye level, but more often from slightly above. From this commanding God’s-eye perspective, the objects look slight, squat and vulnerable, like figures awkwardly pressing together for a snapshot, or huddling under a Morandi rejected the idea of abstraction in his art, that was the direction it was heading. The last oil-on-canvas still lifes are basically composed of blocks and cylinders — are these containers? what could they contain? — and snarled-up biomorphic forms merging into other forms. And in watercolor painting, which became his late preferred medium, solids become mere stains soaked into then, Morandi had achieved international fame, both for his paintings and for his extraordinary prints, which are too little sampled in the show, organized by the Met and the Museo d’Arte Moderna of Bologna, with Maria Cristina Bandera, director of the Roberto Longhi Foundation in Florence, and Renato Miracco, director of the Italian Cultural Institute in New York, as hand had lost steadiness; his eyesight was, perhaps, failing. But he didn’t rest. He kept painting. Why?You might ask other artist-poets this question: Joseph Albers, say, or Paul Klee or Agnes Martin or a New York artist I know who sits down at his apartment desk for two hours every day — only two, but always two — to embroider small squares of raw canvas with abstract patterns in silk thread. The work is close, slow and painstaking, done stitch by stitch, row by row — letter by letter, line by line — in calligraphic loops and tufts. An inch of embroidery, approximately the size of a sonnet quatrain, takes months to the work goes on. Because it is controllable reality. It is a form of thinking that frees up thought. It is time-consuming, but time-slowing, isolating but self-fulfilling. It is a part of life, but also a metaphor for how life should be: with everything in place, every pattern clear, every rhyme exact, every goal near.

不是当你变老以后，你就不玩耍了；而是当你不玩耍以后你就变老了。敞开自己的好奇，去学、去看、 去发现，去填补自己。当我听到J校长讲起这句话的时候，联想到了自己，我就是那种喜欢折腾，对这世界永远保持好奇心的人。 所以，喜欢折腾的我来到了自发光。可曾想到，时间过得真快呀，像当初在长投学习理财一样，充实的时光总是一晃而过，又要毕业了。让我来好好回顾一下，自己与“自发光”结下的“不解之缘”吧！一、相遇 “自发光才是我的主战场，长投只是我的副战场！”这是在自发光的往期学员番茄（昵称是“自律的疯子”）对我说的话。 我始终记得番茄对我说的这句话，也能想象她说这句话时那骄傲的神采，现在想起来那应该是一种强大的气场扭曲力吧。 就这样，我知道了“自发光”，马上去微信关注，去了解关于它的很多资料。哇塞，原来这个形象研修课还有我心心念念想要学习的“体态纠正”，还有那个时候正打算放假之后计划学习的“穿搭”等等。二、相识 从那个时候起，就爱上了“自发光”，知道了小七、知道了J校长，知道了蔚蓝姐。说来也是一种缘分呐，在自发光的一个分会群里，我将自己这些年来的成绩和经历和群里的姐妹分享之后，过了几天，成功引来小七的关注，她主动加我为好友，你说惊不惊喜、开不开心；在这之前我也已经关注J校长的微博，并把她的微博逛了个“底朝天”，哈哈哈，最终得出一个结论“确认过眼神，你是对的人”；后来啊，没想到蔚蓝姐竟然是我们的班主任，很开心呐。三、相知 抓住2018年的尾巴，我进了19期的自发光28天形象研修课进行学习，学号也是有我的幸运数字7组成的，而且是两个7哦。 紧密而期待的课程学习就这样开始了。 1、认知层 以前我对自己的长相还是挺满意的，现在对自己的长相更加满意啦。不过，现在来看以前的自己，那时的观点还是比较片面的。我仅仅只从“内容审美”来看自己，完全不知道“精神审美”这回事。 除了内容审美，我们还有精神审美方。容颜易老，精神永存，这就是他人美好经验中的基本存在，利用这些为切口，为别人带来更多地美好向往，美是对他人意识层的冲击，不单单是眼睛看到的五官身材等外在长相，真正的美一定是有精神标签加持，因此在精神审美方面我们可以进一步制定更加细致的优化措施使自己成为更有魅力让人向往的人。 现在的我要从“内容审美”和“精神审美”共同来提升自己，活出最高版本的自己。从外貌开始优化自己，练好形体（这个也是我15岁开始心心念念想要的，不过苦于一直没有找到方法和机会）；调动起别人我的美好经验；为他人制造向往。 2、练习层 形象是我们向别人展示自己，别人用我们的形象识别我们的性格、行为、能力，推导我们发生的场景，形象是先于语言的表达能力。这是我第一次对形象有这么深刻的认识。 通过学习，我对自己的各方面有了更加深刻和详细的认识。 （1.）体态 被自己一开始的“形体报告”惊到了，以前有学习过这个方面的皮毛，但是没有想到自己的形体有这么多的问题。跟着老师的指导，每天坚持打卡练习。八天的训练，我的肩颈问题获得改善，腰腹部明显紧致，臀线上移，头前伸、肩内扣改善明显，假胯、膝超伸也有一定的改善，整个人更加的挺拔了；其他如脊柱、胯部、盆骨、腿部等骨骼性身姿问题，皆需要更长时间的锻炼来改善，以获得效果。这真实让人惊喜呀。 （2.）气质 通过气质九宫格的学习，我知道了自己的主气质为猫，参与气质中略有一点兔子的特质，她能给人一种自由多变的感觉。接下来我就可以利用猫所拥有的积木块来找到适合自己的穿搭、妆容、发型啦！ 3.技术层 （1.）发型 从目前来看，我现在的发型还算适合自己，低层次、黑色的中长发，能给人一种慵懒感，再加上后期把发型变得蓬松一点，那就更好啦！ （2.）妆容 一个合适自己的妆容，应该从对自己的具体情况和需求分析出发，充分考虑气质属性、自己的面部比例如三庭五眼，设定希望妆容表达的目标。 自己以前就学过化妆，但是没有找到适合自己的妆容，通过“自发光”的学习之后，可以找到更加突出自己气质的妆容啦。 （3.）穿搭 学习穿搭之前，我们学习了色彩的色相明度饱和度、冷暖色，第一次知道莫兰迪配色，明白了有些高级时装的配色为什么显得高级，色彩具体到个人，颜色要根据个人气质来，色彩情绪要和气质匹配。我们的妆发都要用到这些色彩理论。 穿衣要学会扬长避短，根据自己的身材特点，突出优势掩盖缺点，都要显高显瘦打造x型，这部分目前还在学习中。四、相守 自发光的学习即将结束，但是练习形体，把自己变得越来越美永远都不会结束，我会一直在路上。价值百万的形象课，仅仅学习一遍或是两遍，还是不能很好的消化，我需要在毕业之后不断的复盘、复习，愿通过学习，通过自我提升，能发挥更多价值和力量～ 最后致谢J校长、班主任蔚蓝姐、小七及整个团队。 送给自己的话：往后余生，愿你能欣赏别人，也能喜欢自己；自己没有站在聚光灯下，发自内心的为别人鼓掌也很美