Sita and Sarita

Sita and Sarita

作品名称:Sita and Sarita (1892)
艺术家:Cecilia Beaux (美国, 1855-1942)
材质:布面油画
作品尺寸:113.3 × 83.8 cm
现藏于:美国国家艺术馆(National Gallery of Art)

作品介绍

机器翻译:

这幅由塞西莉亚-博克斯创作的肖像画描绘了艺术家的表妹萨拉-阿利博恩-莱维特,她身着白衣,肩上扛着她的黑猫。博克斯不仅因其大胆的绘画技巧而被认可,而且还因为她有能力为她的女性对象注入机智和智慧,使她们不仅仅是美丽的对象而已。19世纪80年代末在巴黎读书时,艺术家受到了她亲身接触法国印象派的影响。她充满光亮的调色板和姿态风格使她与同时代的许多人进行比较,包括威廉-梅里特-蔡斯、詹姆斯-麦克尼尔-惠斯勒、约翰-辛格-萨金特和玛丽-卡萨特。

例如,坐着的人的白色衣服让人想起惠斯勒1862年为乔安娜-希弗南画的那幅臭名昭著的画,《白色交响曲,第1号:白色女孩》(华盛顿国家艺术馆)。这两幅画之间的形式上的联系显示了博克斯对惠斯勒绘画的了解。此外,栖息在莎拉肩上的黑猫的直接注视参考了爱德华-马奈的画作《奥林匹亚》(1865年,巴黎奥赛博物馆),其中一只姿势相似的黑猫坐在奥林匹亚的床脚。这些联系表明,博克斯打算通过这幅肖像画揭示更多东西,而不仅仅是她对绘画技巧的掌握。这幅画神秘的标题可能代表了马奈的影响–博克斯使用了西班牙的缩略语,莎拉的Sarita和猫的Sita,意思是 “小家伙”,承认了19世纪末由马奈倡导的西班牙绘画的流行。这幅作品是1893年绘制的原作的复制品,在1895年纽约的美国艺术家协会展览上展出。在将原作捐赠给巴黎卢森堡博物馆(现由巴黎奥赛博物馆收藏)之前,博克斯记录了她为了 “在原作永远地去了法国之后 “而创作的第二幅画。

原文:

This portrait by Cecilia Beaux portrays the artist’s cousin, Sarah Allibone Leavitt, dressed in white with her black cat on her shoulder. Beaux was recognized not only for her bold painting technique, but also for her ability to imbue her female subjects with wit and intelligence, rendering them more than just mere objects of beauty. A student in Paris in the late 1880s, the artist was influenced by her firsthand exposure to French impressionism. Her light-filled palette and gestural style invite comparisons with many of her contemporaries, including William Merritt Chase, James McNeill Whistler, John Singer Sargent, and Mary Cassatt.

The sitter’s white dress, for instance, evokes Whistler’s infamous 1862 painting of Joanna Hiffernan, Symphony in White, No. 1: The White Girl (National Gallery of Art, Washington). The formal connection between the two paintings demonstrates Beaux’s knowledge of Whistler’s painting. Additionally, the direct gaze of the black cat perched on Sarah’s shoulder references Edouard Manet’s painting Olympia (1865, Musée d’Orsay, Paris), in which a similarly posed black cat sits at the foot of Olympia’s bed. These connections suggest that Beaux intended to reveal more with this portrait than simply her mastery of painting technique. The enigmatic title of the painting may represent Manet’s influence—Beaux’s use of Spanish diminutives, Sarita for Sarah and Sita, meaning “little one,” for the cat, acknowledges the late 19th-century popularity of Spanish painting, championed by Manet. The present work is a replica of the original painted in 1893 and displayed in the 1895 Society of American Artists exhibition in New York. Before donating the original to the Musée de Luxembourg in Paris (now in the collection of the Musée d’Orsay, Paris), Beaux recorded that she made a second painting for her “own satisfaction when the original went to France for good.”

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图片尺寸:2719 × 4000 像素
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部分中文由机器翻译,可能并不准确。

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