1947.11 雷诺阿的画作/陶米埃

shiyi18

Renoir Drawings/Daumier
By Mackinley Helm
NOVEMBER 1947 ISSUE
SHARE
$15.00
John RewaldBITTNER
$7.50
Jacques LassaigneHYPERION; CROWN
Two art publishers have lately released, as though for the purpose of convenient comparison, a volume of drawings by an artist better known for his paintings and another of paintings by a genius at drawing. Renoir Drawings contains 89 reproductions of drawings in various media—pencil, ink, charcoal, crayon, wash, sanguine, pastel — by Pierre-Auguste Renoir, a painter who lived in a rapturous state of excitement over the rapid mutations of light and color in nature.Daumier, an American reprint of a nine-year-old Paris edition, reproduces around 130 paintings by the great republican moralist whose 4000 black and white lithographs monitored French manners and politics from the July Monarchy to the Siege of Paris. Both volumes were planned with good reason.

As John Rewald explains, in a brief preface extracted from his richly detailed History of Impressionism, Renoir infrequently worked with pen and pencil until, in his early forties, he had labored through the impressionist theory that line appears nowhere in nature. When he began to recognize the existence of classical contours beneath light and color, he went in for drawing. Most of the drawings made from 1883 onward, after a period of intensified study of Ingres and Ingres’s master, the Renaissance Raphael, are sketches for (sometimes from) the paintings of Renoir’s post-impressionist period: of bathers, dancers, laundresses, women with children - especially of his infant son Jean, now a movie director, and the maid Gabrielle. Of the finished drawings, some were illustrations for stories by Paul Lhote and Edmond Renoir, the artist’s brother. The superb pastel portrait of Paul Cézanne, dated 1880, was so well liked by the sitter that he attempted to copy it.
Magazine Cover image
View This Story as a PDF
See this story as it appeared in the pages of The Atlantic magazine.

Open
It is unfortunate that the handsome stiff paper on which the Renoir drawings are printed rarely conveys an impression of textures. The reader enjoys no such sense of approximating the handling of original drawings as one gets, say, from the plates of old-master drawings published by the trustees of the British Museum in the eighties and nineties, when mechanical means were not so easy to come by. But it is always a pleasure, as in the List of Plates here assembled, to be in touch with John Rewald’s fastidious scholarship.

Honoré Daumier, on his side, began to paint late in life, as Jacques Lassaigne shows in the Hyperion volume, because he was busy, during the earlier years, earning a difficult living with his lithographic cartoons. However, an extraordinary thing about Daumier’s black and white prints, as Baudelaire noticed, was that they were full of suggestions of color. The man who was born with a gift for transcending the candid and insensitive stone likewise had an original genius for the use of oil color. He improvised his own color chords and made them convincing.
Standing alone in his time — unmoved, so far as one sees, by the pictorial forces existing around him — Daumier, as draftsman, had the sure instinct that G. B. S. has had as a dramatist: the instinct to work well within the proper manifestations of the comic spirit, thus saving the conscience of mankind from hurt. The same inborn taste showed him the way, in his paintings, to give permanence to the anecdotal subject matter of the daily drawings. The figures of the frequently repainted and incomplete pictures, lawyers, collectors, railway travelers, wine-shop patrons, all painted from memory, no longer illustrate Daumier’s acid and witty comments on daily events for the press. They stand for man’s changeless attitudes.
A new edition of the Hyperion Daumier would, of course, have been more desirable than this American reprint of the European edition. The bibliography takes no notice of such later appreciations of Daumier as the essays of Paul Valéry and Maurice Sachs. Furthermore, there has been some redisposition of paintings since 1938, and additional pictures in American bands have become available for reproduction on this side of the water. The color, identical with that of the French edition except for its bright, rosy glaze, scarcely suggests Daumier’s unique modulations — though Albert Skira and Pierre Tisné, both of Paris, have shown that Daumier’s subtle handling of color can still be represented with a high degree of fidelity.
MACKINLEY HELM



雷诺阿的画作/陶米埃
作者：Mackinley Helm
1947年11月号
补贴
$15.00
John RewaldBITTNER
$7.50
Jacques LassaigneHYPERION; CROWN
两家艺术出版社最近推出了一册以绘画闻名的艺术家的素描作品和另一册绘画天才的绘画作品，似乎是为了方便比较。雷诺阿画集》包含89幅不同媒介的图画复制品--铅笔、墨水、木炭、蜡笔、水洗、红墨水、粉彩--由皮埃尔-奥古斯特-雷诺阿创作，这位画家对大自然中光线和色彩的快速变异保持着兴奋的状态。这两卷书的计划都是有充分理由的。

正如约翰-雷瓦尔德（John Rewald）在从其内容丰富的《印象派历史》中摘录的简短序言中所解释的那样，雷诺阿不常使用钢笔和铅笔创作，直到他在40岁出头的时候，他一直在努力学习印象派的理论，即线条在大自然中无处不在。当他开始认识到光线和色彩下的古典轮廓的存在时，他就开始画画了。从1883年起，在对英格尔和英格尔的大师文艺复兴时期的拉斐尔进行深入研究之后，他画的大多数画都是雷诺阿后印象派时期的绘画草图（有时来自于）：沐浴者、舞者、洗衣妇、带孩子的妇女--尤其是他的幼子让，现在是一名电影导演，和女仆加布里埃尔的画。在已完成的画作中，有些是为保罗-洛特和艺术家的兄弟埃德蒙-雷诺阿的故事创作的插图。保罗-塞尚的精湛粉彩画像，日期为1880年，深受坐着的人的喜爱，他试图复制它。
杂志封面图片
以PDF格式查看本故事
请看这个故事出现在《大西洋》杂志的页面上。

打开
遗憾的是，印制雷诺阿图画的漂亮硬纸很少能传达出纹理的印象。读者无法像从大英博物馆受托人在八十年代和九十年代出版的旧版画中得到的那样，享受到接近原画的处理的感觉，当时的机械手段并不那么容易得到。但是，能够接触到约翰-雷瓦尔德严谨的学术研究，总是一件令人高兴的事情，就像在这里汇集的版画清单中一样。

正如Jacques Lassaigne在《Hyperion》一书中所展示的那样，Honoré Daumier很晚才开始作画，因为他在早些年忙于以石版画漫画为生，生活很艰难。然而，正如波德莱尔所注意到的，杜米埃的黑白版画的一个特别之处是，它们充满了色彩的暗示。这个生来就有超越坦率和不敏感的石头的天赋的人，同样也有使用油彩的原创天才。他即兴创作了自己的色彩和弦，并使之令人信服。
杜米埃在他的时代独树一帜--不为周围存在的绘画力量所动--作为绘图员，他具有G.B.S.作为戏剧家所具有的可靠本能：在喜剧精神的适当表现范围内工作的本能，从而使人类的良心免受伤害。同样与生俱来的品味为他指明了方向，在他的绘画中，为日常绘画中的轶事题材赋予了永久性。那些经常重画的、不完整的图画中的人物，律师、收藏家、铁路旅行者、葡萄酒店主，都是根据记忆画的，不再是道米埃为报刊杂志对日常事件的酸楚和诙谐的评论。他们代表了人的不变的态度。
当然，新版的《海伯利安-道米埃》会比这个欧洲版的美国重印本更值得期待。书目中没有注意到后来对道米埃的赞赏，如保罗-瓦莱里和莫里斯-萨克斯的文章。此外，自1938年以来，有一些画作被重新处置，在美国带的更多画作已经可以在水的这一边进行复制。除了明亮的玫瑰色釉面外，颜色与法国版相同，几乎看不出道米埃独特的调制方式--尽管巴黎的Albert Skira和Pierre Tisné都表明，道米埃对颜色的微妙处理仍然可以高度忠实地表现出来。
麦金利-赫姆