部分是由于萨奇的资助,但主要是由于她杰出地运用了古典人物画的标准和明显的高超技巧,萨维尔不出所料地兴旺起来,并很快得到了公众的认可。萨维尔在艺术史的背景下重新引入和恢复了人物画的方法,通过绘画技巧,表达和强烈的作品,描绘困难的主题,是当今社会必须解决的问题。萨维尔最为人所知的是她为大型裸体女性和跨性别者拍摄的重要照片,其中一些照片描绘的是手术后留下的伤疤,在皮肤表面刻下了挑逗性的印记。例如,萨维尔创作于1992年的画作(图1),这里我们看到的是一个放大的女人的身体,珍妮·萨维尔头部的自画像还没有完全进入画框。身体展示了女性不完美的每一个传统定义,一些评论家甚至说“排斥,野蛮的女性气质和自卑的自我形象”(Schwabsky, 2007)。她皮肤上的字母写着:精致、不理性、娇小、支持和装饰。可以说,这些话是萨维尔内心的对话,是“传统女性”的一种缩影。照片中的女子温柔地抚摸着自己的皮肤。然而,这个女人的姿势很突兀,让观众不得不面对她的脸。她不像历史告诉我们的那样被动,她不符合她的前辈鲁本的女性致命或古典大理石结构,相反,她是一个在她自己,由观众个人解释。“萨维尔的作品挑战了我们对女性身体的认知。以这种方式使用自我,就是在对固定身份和身体的质疑中绕了一圈。

英国艺术作业代写 萨维尔

Partially through Saatchi’s patronage but mostly through her prominent use of the classical standard of figure painting and obvious immense skill, Saville predictably thrived and quickly became recognised by the public. Saville has reintroduced and regained figure painting methods in the context of art history through painterly techniques of expressive and intense pieces portraying difficult themes that are essential to tackle in today’s society. Saville is predominantly known for her momentous portraits of large nude women and transgender people, some depicting scars of undergone surgeries with provocative inscribing’s on their skin’s surfaces.For example, Saville’s painting Branded (Figure 1.) created in 1992, here we see an enlarged woman’s body with a self-portrait of Jenny Saville’s head still not fully in frame. The body shows every conventional definition of women’s imperfections, some critics have gone far as to say ‘repulsion, brutalised femininity and abject self-image’ (Schwabsky, 2007). The letters on her skin read words such as: delicate, irrational, petite, supportive and decorative. It could be said that these words are an internal dialogue of Saville’s, a kind of epitomic of the ‘conventional woman’. The woman depicted is seen grasping her folds of skin, in a lovingly gentle manner. However, the woman’s posture is obtrusive making the viewer confront her face on. She is not passive like history has told us women were before her, she does not conform to her predecessors of Ruben’s femme fatal or classical marble structures, instead, she is one in her own to be individually interpreted by the viewer. ‘Saville’s work interrogates our perception of the female body in challenging ways. To use the self in this way is to come full circle in the questioning of fixed identity and the body’.

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