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The art and life of Raymond Jonson (1891--1982): Concerning the spiritual in American abstract art.

机译:雷蒙德·琼森(Raymond Jonson,1891--1982年)的艺术与生活:关于美国抽象艺术中的精神主题。

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摘要

Raymond Jonson was one of the first modernist painters in the Southwest. spiritual in paintings in which line, shape, color, texture, and space are used independently of depicting the natural world. Jonson is one of many American artists who resisted Regionalism and Social Realism between the World Wars.; Jonson grew up in the West in a poor, devoutly Baptist family. He went to Chicago in 1910 to study art and quickly became one of the most outspoken members of the Midwestern avant-garde. He knew Bror J. O. Nordfeldt, Birger Sandzén, Albert Bloch, and Nicholas Roerich and was involved with Cor Ardens and the Chicago Salon des Refusés. He was the artist for Maurice Browne's Chicago Little Theatre and a leader in the simple-stage movement in theater. Jonson moved to New Mexico in 1924 to escape the problems of urban life. He taught at the University of New Mexico at Albuquerque, where today the Jonson Gallery houses many of his works.; In the 1910s and 1920s Jonson painted portraits and landscapes influenced by Impressionism, Symbolism, and Cubism. Jonson's exposure to modern art, the simple stage movement, and the Western landscape influenced him at this paintings of numerals, alphabet letters, plant forms, colors, skyscrapers, and other subjects in the 1930s. This phase was transitional; Jonson was searching By the late 1930s, Jonson's work became totally non-representational and he began using watercolor, tempera and the airbrush. In 1938, he, Agnes Pelton, Emil Bisttram, Lawren Harris, Dane Rudhyar and others established the Transcendental Painting Group to further the cause of the spiritual in art. After World War II, Jonson's painting became much larger and in 1958 he started using acrylic paints.; In analyzing the spiritual in Jonson's paintings the author examines Kandinsky's, Mondrian's, and Jonson's own theories, the works of Kandinsky, the new media and techniques Jonson used, and, occasionally, various alternative, modern mystical and spiritual belief-systems.
机译:雷蒙德·琼森(Raymond Jonson)是西南地区最早的现代主义画家之一。线条,形状,颜色,纹理和空间的使用独立于描绘自然世界的绘画中的精神性。琼森(Jonson)是在两次世界大战之间抵制区域主义和社会现实主义的众多美国艺术家之一。琼森(Jonson)在一个贫穷而虔诚的浸信会家庭中长大。他于1910年去芝加哥学习艺术,并迅速成为中西部先锋派最直言不讳的成员之一。他认识Bror J. O. Nordfeldt,BirgerSandzén,Albert Bloch和Nicholas Roerich,并且与Cor Ardens和Chicago Salon desRefusés合作。他是莫里斯·布朗(Maurice Browne)的芝加哥小剧院(Chicago Little Theatre)的艺术家,也是剧院的简单舞台运动的领导者。琼森(Jonson)于1924年移居新墨西哥州,以逃避城市生活的困扰。他在阿尔伯克基的新墨西哥大学任教,今天,约翰逊画廊(Jonson Gallery)存放了他的许多作品。在1910和1920年代,强森画了受印象派,象征主义和立体主义影响的肖像和风景。 Jonson接触现代艺术,简单的舞台动作和西方风景在1930年代的这幅数字,字母,植物形态,颜色,摩天大楼和其他主题绘画中影响了他。这个阶段是过渡阶段。 Jonson正在搜寻到1930年代后期,Jonson的作品变得完全没有代表性,他开始使用水彩,蛋彩画和喷枪。 1938年,他与艾格尼丝·佩尔顿(Agnes Pelton),埃米尔·比斯特拉姆(Emil Bisttram),劳伦·哈里斯(Lawren Harris),丹恩·鲁德哈尔(Dane Rudhyar)等人成立了超越绘画小组,以推动艺术中精神精神的发展。第二次世界大战后,琼森的画作变得更大,并于1958年开始使用丙烯酸涂料。在分析琼森绘画中的精神时,作者考察了康定斯基,蒙德里安和琼森自己的理论,康定斯基的作品,琼森使用的新媒体和新技术,以及偶而使用了各种替代性的现代神秘主义和精神信仰体系。

著录项

  • 作者

    Hartel, Herbert R., Jr.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 Art History.; Biography.
  • 学位 Ph.D.
  • 年度 2002
  • 页码 616 p.
  • 总页数 616
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;传记;
  • 关键词

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