Stettheimer非常谨慎地评价她作为一名艺术家的形象,经常拒绝被她在她的朋友(包括Cecil Beaton)中的许多重要摄影师拍摄,而是选择由她画的自我代表。出现在20世纪20年代流行的时尚服饰中,Florine的彩绘版本穿着红色高跟鞋,似乎从未过去四十岁,尽管这位艺术家在她70多岁时去世。虽然她经常会直接将她的图像,手中的调色板插入一个场景中,但在Soirée(约1917年)中,她包括一幅未被广泛展示的裸体自画像(可能是因为它的淫秽内容)。 Florine Stettheimer于1944年去世,两周前,现代艺术博物馆展出她称之为“杰作”的Family Portrait II(1939年),画布回归到她最喜欢的主题:她的姐妹,她的母亲和她心爱的纽约市。她去世两年后,她的好朋友马塞尔杜尚帮助组织了她在同一个博物馆工作的回顾展。

英国伯明翰大学Assignment代写:马塞尔杜尚

Stettheimer very cautiously evaluates her image as an artist and often refuses to be photographed by many of her important photographers in her friends (including Cecil Beaton), but instead chooses the self-representation drawn by her. Appearing in the fashions that were popular in the 1920s, Florine’s painted version wore red high heels and seemed to have never been forty years old, even though the artist died in her 70s. Although she often inserts her image and the palette in her hand into a scene, in Soirée (circa 1917) she includes a nude self-portrait that is not widely displayed (probably because of its obscene content). . Florine Stettheimer died in 1944. Two weeks ago, the Museum of Modern Art exhibited what she called the “Masterpiece II” (1939). The canvas returned to her favorite theme: her sister, her mother and her. Beloved New York City. Two years after her death, her good friend Marcel Duchamp helped organize her retrospective work in the same museum.

 

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