偶像的厄运:毕加索Las Meninas After Velasquez戏仿系列及其艺术史观念
摘要
本文拟从西班牙现代画家毕加索对西班牙巴洛克画家委拉斯贵支的作品(Diego Velasquez)《宫娥》(Las Meninas)进行的戏仿系列《Las Meninas After Velasquez》着眼,在还原毕加索创作语境的基础之上,厘定其戏仿作品在艺术史上的位置,探赜索隐毕加索的艺术史观念,试图更为全面与细致地审视毕加索的戏仿作品与原作品(original)之间的关系,同时进一步分析画家的创作行为与艺术史之间存在的微妙联系与互动。
引文
[1]Picasso,quoted in Museu Picasso Guide(Barcelona:Museu Picasso,1998),p.94.
[2]Vincent to his brother Theo,19 September,1889 in The Complete Letters of Vincent Van Gogh,vol.3(Boston,T oronto,London:A Bullfinch Press Book,Little Brown and Company,1991),pp215-16.
[3]John Searle:"Las Meninas and the Parodox of Representation:Critical Inquiry,6(Spring 1987),p477-488转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p150.
[4]详细的叙述见Richardson,A life of Picasso,I,Knopf.57-89
[5]Justi,10.For a summary of Velazquez’s critical fortunes see 10-15.转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p135.
[6]Angel Gavinet,”La pintura espanola juz en el extranjero,”1895,collected in Varia Velazquez.Homenaje a Velazquez en et III centenario de su muerte,1660-1960,2 vols.p133.转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p132.
[7]Aureliano de Beruete,Velasquez,(London,M ethuen and Co,1906).p112.转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p112.
[8]Martin Kemp,The Science of Art,Optical Themes in Western Art from Brunelleschi to Surat,pp108-109.
[9]Wollhiem,更精确地描述,见“The Spectator in the Picture,chap 3.p102.
[10]J.J.Winckelmann,”On the Imitation of the Painting and Sculpture of the Greeks,”Reflections on the Painting and Sculpture of the Greeks”,trans.H.Fuseli(London1975)p264
[11]Frederick Neitzsche,”The Use and Abuse of History.ed,Geoffrey Clive,trans.Oscar Levy(New York:New American Library,Meridian Classic,1984),p232.
[12]Picasso to Guttuso,excerpted in Ashton,p55
[13]Alexander Linberman,”Picasso”,Vogue(N ov.1956):132-34,Ashton,p61
[14]Mario de Zayas,”Picasso Speaks”.The Arts3(May,1923):pp315-26,cited in Ashton,4.p10.
[15]Mario de Zayas(1923),excerpted in Ashton,4.p121.
[16]Helena Parmelin,Picasso,Women,Cannes,and Mouginas,1954-1963(New York:Time-Life,1964),p142.
[17]Malraux,Picasso’s Mask,Picasso refers here to Malraux’s Museum Without Walls.p135
[18]Picasso to Zervos(1935),excerpted in Ashton,p27
[19]Kart Badt,Das Spatswerk Cezannes(1971),cited in Rudolf Arnheim,”On the late style”New Essay on the Psychology of Art(Berkeley,LA,London:University of California Press,1986),p291.
[20]Picasso to Helene Parmelin,excerpted in Ashton,p27.
①El Greco(1541-1614),希腊裔西班牙画家。
②Michel Foucault,”Las Meninas”In The Order of Things,An Archaeology of the Human Sciences.
③Martin Kemp(1942-),英国著名艺术史家,研究领域在艺术与科学交叉部分,对达·芬奇(Leonardo da Vinci)的研究亦有卓著成果。
④为了完成这个系列作品,毕加索在他别墅中没有使用过的第三层楼设置了三个不同的画室,在十月初以前,除了杰奎琳(毕加索的第二任妻子,两人婚姻一直持续到毕加索的逝世),其余人都不允许进入。
①Jaume Sabartés,(1881.6.10-1968.2.12),加泰罗尼亚裔西班牙艺术家,诗人,作家。
②创作于1953年,布上油画。
③Zervos 16:100,Musee Picasso,Paris.毕加索告诉他的朋友,画中的阴影就是他自己。他也是在那不久之后告诉Froncoise Gilot(时任毕加索的情人)的。引自Picasso’s Picassos.(New York,Harper and Raw,1953),183
④关于门与窗在毕加索作品中的重要性和象徵意义,见Gasman,661-756.
①Christian Zervos(1889-1970),法国艺术史家,批评家,艺术品收藏家与作家。
①Jose Ortega y Gasset(1883-1955),西班牙哲学家,作家。
②在此处指毕加索的艺术批评家好友Christian Zervos。
[2]Vincent to his brother Theo,19 September,1889 in The Complete Letters of Vincent Van Gogh,vol.3(Boston,T oronto,London:A Bullfinch Press Book,Little Brown and Company,1991),pp215-16.
[3]John Searle:"Las Meninas and the Parodox of Representation:Critical Inquiry,6(Spring 1987),p477-488转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p150.
[4]详细的叙述见Richardson,A life of Picasso,I,Knopf.57-89
[5]Justi,10.For a summary of Velazquez’s critical fortunes see 10-15.转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p135.
[6]Angel Gavinet,”La pintura espanola juz en el extranjero,”1895,collected in Varia Velazquez.Homenaje a Velazquez en et III centenario de su muerte,1660-1960,2 vols.p133.转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p132.
[7]Aureliano de Beruete,Velasquez,(London,M ethuen and Co,1906).p112.转引自Variations on the masters,confrontations with the past.Harry N Abrams.1996,p112.
[8]Martin Kemp,The Science of Art,Optical Themes in Western Art from Brunelleschi to Surat,pp108-109.
[9]Wollhiem,更精确地描述,见“The Spectator in the Picture,chap 3.p102.
[10]J.J.Winckelmann,”On the Imitation of the Painting and Sculpture of the Greeks,”Reflections on the Painting and Sculpture of the Greeks”,trans.H.Fuseli(London1975)p264
[11]Frederick Neitzsche,”The Use and Abuse of History.ed,Geoffrey Clive,trans.Oscar Levy(New York:New American Library,Meridian Classic,1984),p232.
[12]Picasso to Guttuso,excerpted in Ashton,p55
[13]Alexander Linberman,”Picasso”,Vogue(N ov.1956):132-34,Ashton,p61
[14]Mario de Zayas,”Picasso Speaks”.The Arts3(May,1923):pp315-26,cited in Ashton,4.p10.
[15]Mario de Zayas(1923),excerpted in Ashton,4.p121.
[16]Helena Parmelin,Picasso,Women,Cannes,and Mouginas,1954-1963(New York:Time-Life,1964),p142.
[17]Malraux,Picasso’s Mask,Picasso refers here to Malraux’s Museum Without Walls.p135
[18]Picasso to Zervos(1935),excerpted in Ashton,p27
[19]Kart Badt,Das Spatswerk Cezannes(1971),cited in Rudolf Arnheim,”On the late style”New Essay on the Psychology of Art(Berkeley,LA,London:University of California Press,1986),p291.
[20]Picasso to Helene Parmelin,excerpted in Ashton,p27.
①El Greco(1541-1614),希腊裔西班牙画家。
②Michel Foucault,”Las Meninas”In The Order of Things,An Archaeology of the Human Sciences.
③Martin Kemp(1942-),英国著名艺术史家,研究领域在艺术与科学交叉部分,对达·芬奇(Leonardo da Vinci)的研究亦有卓著成果。
④为了完成这个系列作品,毕加索在他别墅中没有使用过的第三层楼设置了三个不同的画室,在十月初以前,除了杰奎琳(毕加索的第二任妻子,两人婚姻一直持续到毕加索的逝世),其余人都不允许进入。
①Jaume Sabartés,(1881.6.10-1968.2.12),加泰罗尼亚裔西班牙艺术家,诗人,作家。
②创作于1953年,布上油画。
③Zervos 16:100,Musee Picasso,Paris.毕加索告诉他的朋友,画中的阴影就是他自己。他也是在那不久之后告诉Froncoise Gilot(时任毕加索的情人)的。引自Picasso’s Picassos.(New York,Harper and Raw,1953),183
④关于门与窗在毕加索作品中的重要性和象徵意义,见Gasman,661-756.
①Christian Zervos(1889-1970),法国艺术史家,批评家,艺术品收藏家与作家。
①Jose Ortega y Gasset(1883-1955),西班牙哲学家,作家。
②在此处指毕加索的艺术批评家好友Christian Zervos。