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  • 编  号:653021
  • 作  者:毕加索 查看拍卖记录
  • 销售状态:待售(不可在线交易)   展览中 2018.04.30号后可提货
  • 库  存: 1
  • 售  价:¥300000
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  • 经营时间:
    5年
  • 展厅面积:
    30平米
  • 地  区:
    福建-厦门-其他
作品信息 作者信息 交易评论 本画廊其他作品
尺寸 51x32(cm) 创作年代 1956年
作品分类 版画 材质 石版 题材 人物
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作品介绍

For most of his career, Picasso drew many artworks based upon Greco-Roman myths, but at the same time, famously creating his own mythology, which was playful, fanciful, and thoroughly captivating. To some authors it was his “flight from civilization" and Picasso's late work represented this more so: “To think there are whole peoples who lie in the sand and pipe upon bamboo canes! To think that it should be possible to rid oneself of all norms and necessities of modern life, of the curse of individuality – to live a life without memory, hence without death; to come into being and disintegrate like a plant and to span the interim safely embedded in the mythical collective of a primitive society.” Dionysus/Bacchus was the youngest god at Mt. Olympus and the only one to have a mortal mother .

纵观毕加索的一生,他的很多作品都是在古希腊罗马神话的基础上创作的,但是同时,他也创造了自己著名的神话,充满戏剧、幻想,彻底的让人着迷。一些作家认为这是他“逃离文明”的表现,毕加索的后期作品更是有很多这样的作品。“试着想象下,沙滩上到处躺着的人们,还有用竹子做的管乐。试着想象下,尽可能的摆脱所有的规范和现代生活的必需品,还有这个被诅咒的个性——去生活在一个没有记忆,没有死亡的世界,形成和分解植物,跨越临时安全嵌入到神秘的原始社会的集体。“狄俄尼索斯/酒神巴克斯是奥林匹斯山最年轻的神,但是他也是唯一一个拥有致命母亲的神。

 

The pleasing yellow hue of this lovely print is a welcome relief to us color-starved Picasso print lovers, especially at this price.  This original lithograph served as the cover for Volume III of Fernand Mourlot'scatalogue raisonée of Picasso's lithographs.  With all due respect to their creator, the front and back cover designs do not form a coherent whole.  This is of course understandable since they were not meant to be viewed in the same plane.

这个可爱的印刷品的黄色色调,对于我们这些颜色控的毕加索印刷品爱好者来说,是非常受欢迎的,尤其是这种价格。这个原始的平版印刷是费尔南多的毕加索石版画的目录系统第三卷的封面。为了尊重他的创造者,前后的封面设计不是一个连贯的整体。当然这是很好理解的,因为他们不在同一个平面上。

 

The front cover represents Dionysus/Bacchus, the Greek/Roman god of the grape harvest, winemaking, wine, ritual celebration, fertility, theatre and religious ecstasy in Greek-Roman mythology. Wine, played an important role in Greek-Roman culture with Dionysus/Bacchus being an important symbol for this life style. Picasso’s selection of Bacchus is his celebration of the carefree life, free from the constraints and pressures of civilization. At this time Picasso had become a global superstar with reporters and photographers intruding and exposing every aspect of his private life. He longed for the mythological days of celebration which he enjoyed in his younger days. Soon after this work he would retreat from the public.

封面画的是狄俄尼索斯/酒神巴克斯,是希腊/罗马神话中的代表葡萄丰收,酿酒,葡萄酒,庆祝仪式,肥沃,剧院和宗教狂魔的神。葡萄酒,在希腊罗马文化中发挥了重要的作用,狄俄尼索斯/酒神巴克斯就是这种生活方式的一个重要标志。毕加索选择酒神巴克斯庆祝他无忧无虑的生活方式,是因为他想摆脱文明的约束和压力。这个时候的毕加索,已经成为了国际巨星,记者和摄影师们入侵和暴露他的私人生活的方方面面。他渴望像神话一样庆祝,享受他年经时候的生活。这个作品完成后不久,他就退出了公众的视线。

 

Also Dionysus/Bacchus is a god of epiphany, "the god that comes", and his "foreignness" as an arriving outsider-god may be inherent and essential to his cults. Likewise Picasso, coming from Andalusia in the south of Spain, always felt like an outsider, whether in Madrid, Barcelona, Paris or after the war in exile from Franco’s Spain in the south of France. Mirroring Picasso’s life, Dionysus/Bacchus procession is made up of wild female followers (maenads) and bearded satyrs playing flutes.

与此同时,狄俄尼索斯/酒神巴克斯是一个顿悟的神,“是外来神”,他作为外来神到来的“外国人特性”,也许是他信徒信奉他的固有和必要的原因。就像毕加索,他来自西班牙南部的安达卢西亚,但是他总是感觉自己像一个局外人,无论在马德里,巴塞罗那,巴黎还是战后流亡在法国南部的西班牙佛朗哥。就像是毕加索生活的一面镜子,狄俄尼索斯/酒神巴克斯的队伍是由野生女追随者(女)和演奏长笛大胡子色情狂组成的。

 

 

A further connection of Dionysus/Bacchus to Picasso lies in the myths  of Dionysus as the protector of those who do not belong to conventional society and thus symbolizes everything which is chaotic and unexpected, everything which escapes human reason and which can only be attributed to the unforeseeable action of the gods. Picasso often saw his artwork as breaking up the old with a new bold way of seeing the world. He would start the draw and to him, the work seemed to be coming from another place and he was just the mortal instrument of the gods.

进一步联系狄俄尼索斯/酒神巴克斯和毕加索的狄俄尼索斯神话,是保护那些不属于传统社会,那些混乱和意想不到的象征,一切逃脱人类的原因,只能归功于神的不可预见的行为。毕加索经常用他的作品打破陈规,用新的大胆的方式看这个世界。他一开始作画,画就自己来了。工作似乎对他来说是另外一个地方,而他只是上帝的一个凡人仪器。

 

 

The bearded man on the back side, like in most of Picasso’s drawings, represents Picasso. Drawing after drawing the bearded man is the artist himself (and likewise in mythology Dionysus/Bacchus was bearded). In the collection of photos that came to light after his death there was one of Picassos face with the beard drawn around his entire head – like in this drawing.  Thus it is fitting that at the end of this collection of lithographs Picasso has placed a drawing of the iconic bearded artist – Picasso himself.

背面是一位大胡子男人,就像毕加索的大部分作品那样,这幅画代表了毕加索。画有大胡子的这个男士,是毕加索本人((在希腊神话中,狄俄尼索斯/酒神巴克斯同样是个大胡子)。在毕加索去世后,他的照片被曝光,其中有一副就是毕加索在他整个脑袋的周围,用胡子把他的脸围了一圈——就跟这幅画一样。因此,把这副画放在毕加索石版画集合的末尾是合适的——毕加索把毕加索自己标志成一个大胡子艺术家。

 

I love this artwork because of all it represents about Picasso and his life… and because I ended up with two drawings for the price of one.

我非常喜欢这个作品,因为它代表了毕加索和他的生活,还因为我花了一幅画的钱得到了两幅作品。

毕加索

毕加索

出生年份: 1881
籍  贯:

作者介绍

      巴伯罗·鲁伊斯·毕加索(西班牙语:Pablo Ruiz Picasso,1881年10月25日-1973年4月8日),西班牙画家、雕塑家,法国共产党党员,是现代艺术的创始人,西方现代派绘画的主要代表。他于1907年创作的《亚威农少女》是第一张被认为有立体主义倾向的作品,是一幅具有里程碑意义的著名杰作。它不仅标志着毕加索个人艺术历程中的重大转折,而且也是西方现代艺术史上的一次革命性突破,引发了立体主义运动的诞生。《亚威农少女》开创了法国立体主义的新局面,毕加索与勃拉克也成了这一画派的风云人物。毕加索是20世纪现代艺术的主要代表人物之一,遗世的作品达二万多件,包括油画、素描、雕塑、拼贴、陶瓷等作品。毕加索是少数能在生前“名利双收”的画家之一。

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