版画作品赏析. 木刻
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The Gods (Te Atua) is one of a series of ten woodcuts titled Noa Noa (the Tahitian word for fragrance) that Gauguin executed after his return to Paris from Tahiti in 1893. The prints were intended to illustrate a text about his experiences in the South Seas. The project was never published as he had planned, but he had hoped this book would provide a background for the public's understanding of his new Symbolist paintings. The imposing idols seen here reflect the figural style of oceanic sculptures that Gauguin had seen during his travels.
This impression is one of only about seven that Gauguin printed himself before turing the block over to a professional printer, Louis Roy, who then pulled an edition of 25. The dark and mysterious areas of the composition, enhanced through Gauguin's selective inking and wiping, create an aura of the exotic and the spiritual.
保罗.高更 1848-1903 《上帝》Noa Noa系列 1893-94
《上帝》(Te Atua) 是Gauguin于1893年从塔希提岛返回巴黎后制作的题为Noa Noa (香味的塔希提语)的一系列共10幅木刻作品之一。这一些列作品的目的是为了给他在在南部海域经历的相关文字配说明插图。 但这个项目并未按照他的计划发布，他曾希望这本书能够为公众理解他的象征主义绘画提供背景信息。 这幅作品中突出的神像反映了高更在旅行中所见到的大洋雕塑的形象风格。
这幅版画是高更在将这块木版转给专业版画师Louis Roy之前自己印制的七张之一，版画师随后印出了25张。通过高更选择性的上墨和擦拭，增强了构图的黑色和神秘的区域， 形成一种异国情调和精神性的灵光。
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Munch's approach to printmaking was extremely experimental, and he often varied the inking in his prints from impression to impression, especially in his woodcuts. He would also treat the same subject in different techniques, as, for example, he did with Anxiety, executing a version in lithography before attempting it in woodcut. Although Munch's theme of societal pressure and alienation is conveyed in all the versions, the formal and technical differences among the individual works manifests a range of nuanced meaning and emotion.
Munch's woodcut of the subject, two variants of which are shown here, was his first effort in this technique. He immediately grasped the potential of the medium, exposing the grain of the wood itself and conveying his stark subject through the rawness of his gouges on the wood block. While the black version conveys a particularly dark and somber mood, the red version suggests associations with blood or an otherworldly rose light at sunset.
蒙克的版画制作方法非常具有实验性，他经常在版画中改变用墨，在各种印象感觉之间变换，又起是在他的木刻版画中。 他也会将不同技法用于同一主题，例如他的作品《焦虑Anxiety》，在尝试木刻之前他先制作了石版印版本。 虽然蒙克的社会压力和疏离主题在所有版本中都得到传达，但各个作品之间形式和技法的差异体现了多种的意义上和情感上细微的差别。
蒙克的这个主题的木刻版画，这里展示出的两个版本，是他在这种技法上的第一次尝试。 他很快就抓住了这种媒介的潜力，将木头本身的纹理显露出来，并通过他在木块上的粗糙凿痕来传达他荒凉的主题。 虽然黑色版本传达了一种特别黑暗和忧郁的情绪，但红色版本却暗含与血液或日落时超凡脱俗的玫瑰色光照的联系。
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Kirchner was one of the founding members of the German Expressionist group Die Brucke in 1905. Influenced by Munch and tribal art from Africa and Oceania, the Brucke artists' desire to create strong, emotional statements was well served by the inherent rawness of the woodcut technique. They also advocated the woodcut for its associations with medieval German art. In this print, Kirchner's crude cuts and awkwardly posed figures are combined with a sophisticated sense of composition; a huge, looming black hat creates a sense of spatial ambiguity and effectively merges foreground and background.
恩斯特·路德维希·凯尔希纳 1880-1938 《裸舞者》1909
Kirchner是1905年开始的德国表现主义组织“桥社”的创始成员之一。受蒙克和来自非洲大洋洲部落艺术的影响，“桥社”艺术家决定创作强烈的情感表达，而木刻技法固有的粗狂原始的特性可以很好的服务于这一目的。他们推崇木刻还因为其与中世纪德国艺术有关。 在这幅作品中，Kirchner粗狂的刀法、笨拙放置的人物，与构图的复杂感相结合; 一顶巨大的、影影绰绰的黑帽子营造出一种空间模糊感，有效的融合了前景和背景。
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The young Franzi posed frequently for Heckel and other German Expressionists, who were drawn to the natural, yet awkward positions that she assumed because they were so unlike the artificial stances of professional models. Heckel's flat, angular treatment of her body and the exaggerated mask like features he gave to here face were derived in part from his interest in African sculptures. Using a jigsaw-puzzle technique derived from Edvard Munch, Heckel made this print by first sawing the woodblock into pieces, then cutting out the three red background areas, inking the components separately, and finally reassembling them before printing.
埃里希·海克尔 1883-1970 《斜躺的弗兰兹》1910
年轻的弗兰兹经常为Heckel和其他德国表现主义艺术家摆姿势做模特，她被画为一种自然但有点怪异的姿势，因为他们不喜欢专业模特摆出的刻意姿势。 Heckler对她身体的平面化和尖角的处理，以及将面部处理为夸张面具样的特征，部分源于他对非洲雕塑的兴趣。 利用源自蒙克的“拼图”技法，Heckel先将木板锯成一块块，然后切出三个红色背景区域，分别上墨，最后在印刷前将木块组装起来。
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This is one of ten woodcut illustrations that Rozanova created for a book titled Vojna (War), with text by her companion, the poet Alexei Kruchenykh. It was issued just after the Russians terminated their involvement in World War I due to the conflicts of their revolution. The Russian Cubo-Futurist style, characterized by abstracted geometric forms, overlapping planes, and unexpected juxtapositions, provides a dynamic mode of presenting the turmoil of war. Vojna is an important example of the inexpensively produced booklets, broadsides, periodicals, and other ephemera created by members of the Russian avant-garde during the 1910s and 1920s.
奧尔加·洛扎诺娃 1886-1918 短期书刊《战争》插图 1916
这是Rozanova为一本名为《Vojna》(战争) 的书创作的十个木刻插图之一，文字来自她的同伴，诗人Alexei Kruchenykh。 这本书是在俄罗斯因革命冲突而终止参与第一次世界大战之后发布的。 俄罗斯的立体未来主义风格，以抽象的几何形式、重叠的平面和意想不到的并置为特征，为呈现战争的混乱提供了一种动态模式。《Vojna》是20世纪10年代和20年代俄罗斯先锋派成员制作的小册子、评论、期刊和其他短期发行刊物的重要范例。
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Frankenthaler established herself in the early 1950s as a leading Abstract Expressionist, distinguished by her inspiration in nature. Best Known as a painter, she has also created over 200 prints since 1961. To make Savage Breeze, Frankenthaler cut a mahogany plywood plank with a jigsaw—a produce adapted from Edvard Much—and then inked the pieces separately before reassembling them for printing. Like Munch, she also exploited the grain of the wood to give the image a sensuous texture and transparency that correspond to the luminous effect of her stained, paint-absorbed canvases.
海伦.弗兰肯塔勒 1928-2011 《原始的微风》1961
Frankenthaler在20世纪50年代初成为一名领先的抽象表现主义艺术家，以其在自然界中的灵感而著称。 以画家闻名的她，自1961年以来，还创作了200多幅版画。为了创作《原始的微风》，Frankenthaler将红木胶合板切割成“拼图”（来自蒙克的技法），然后在组装它们进行印刷之前将分别上墨。 像蒙克一样，她也利用木纹来赋予图像一种感性的肌理和透明度，这与她染色的、吸收颜料的画布的发光效果相呼应。
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An extremely dedicated printmaker, Baselitz has completed over 900 prints since the 1960s, and he typically enjoys a physical engagement with his materials. The subject of this print—an upside-down still life with a bottle and sculpted head on a table—is related to a series of jagged sculptural heads that Baselitz, who is primarily a painter, created in the early 1980s by hacking away at large painted wooden blocks. Rough gouges in the print create a similar sense of crude modeling. Baselitz's upside-down imagery, which first appeared in his work in 1969, reflects his desire to "restructure the visual world" by making recognizable objects seen like unfamiliar, abstract forms.
乔治·巴塞利茨 1938- 《头像和瓶子》 1981
作为一名非常致力于版画的艺术家，Baselitz自20世纪60年代以来已经完成了900多幅版画，他是那种典型的喜欢与材料进行物理层面交流的艺术家。 这幅版画的主题——颠倒的静物，桌子上的瓶子和雕刻的头像——是关于巴塞利茨创作的一系列锯齿状的雕塑头像。巴塞利茨首先是一位画家，这个雕像系列是他在20世纪80年代早期在涂过颜料的木块上砍削而成。版画中的粗糙刀痕制造了与粗狂模型相似的感觉。巴塞利茨的颠倒图像最初出现在1969年的作品中，折射了他“重构视觉世界”的愿望，通过让可识别的物体看起来象陌生的抽象形式。
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Penck, who was born in east germany but moved to West germany in 1979, became part of the New-Expressionist movement in the 1980s, along with Georg Baselitz, Anselm Kiefer, and others. His paintings and prints, including this one, usually contain primitive stick figures derived from a personal system of symbols and signs that embody a message of the commonality of all peoples and situations since the beginning of time. The primitive technique and rough, unrefined aesthetic associated with the woodcut match well with Penck's interest in elemental motifs and instinctive, subconscious beliefs.
A.R. 彭克 1939-2017 《第一集中营 I》系列 《夜景》1982
Penck出生于德国东部，但于1979年搬到西德，他与乔治·巴塞利茨，安塞姆·基弗等人一起成为20世纪80年代新表现主义运动的一部分。 他的绘画和版画，包括这幅作品，通常都包含原始的线条人物，它们源自个人符号和符号系统，同时承载着了所有人和情境的共同信息。 木刻的原始技法和粗糙的、未经雕琢的美学，非常适合Penck对原始图案和本能、潜意识信仰的兴趣。
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This is one of several woodcuts that the sculptor Joel Shapiro made in the 1980s by inking small pieces of lumber, laying them out on a press bed, covering them with a sheet of paper, and sending them through the press. The approach to objects and composition is not unlike his method of arranging wooden beam figures in space. Other than the scalloped edges, the wooden planks have not been carved, so the print's interest is derived mainly from the sheer animation of the materials and their interaction with the paper.
乔伊.沙皮罗 1941- 《无题》1988
这是雕塑家Joel Shapiro在20世纪80年代的作品，通过在一些木片上墨，放到印刷机的平台上，用纸覆盖，然后送入印刷机压轮。 处理物件的方法和构图与他在空间中安排木条的方式不同。 除了波形边缘，木板没有被雕刻，因此这幅版画制作的兴趣主要来自于材料自身的活力及其与纸张的相互作用。
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This monumental image is derived from a diagram of a slave ship that Cole found in a childhood schoolbook. Taking an innovative, almost sculptural approach to the woodcut medium, he sliced holes in the oversized wood planks that comprise the printing block and inserted twelve different irons. The central plank was cut to accommodate an ironing board that represents the ship itself. Each of the various iron faces suggests a different tribe along the African coast that might have traveled in this massive slave vessel.
威利.科尔 1955- 《承载物》1997
这幅巨大的图像来源于Cole在童年教科书中发现的奴隶船示意图。 他采用一种创新的，几乎是雕塑般的方法来处理木刻介质，他在组成木版的超大木板上切出孔，嵌入12个不同的烙铁。 在木板中央切开并嵌入象征船本身的熨衣板。 每个不同的烙铁暗示着非洲海岸的每一个不同的部落，他们可能曾经在这艘巨大的奴隶船上旅行过。
来源：https://www.moma.org/interactives/projects/2001/whatisaprint/print.html 翻译：Me
