郁郁葱葱的调色板
在发展自己的反思语言时,他接受了自发性和直接性。宽广的张力笔触传达了手与眼之间的关系,以及驱动它们的过程、视觉结构和情商的记忆力量。他在有力的笔触中找到了慰藉。霍奇金是个彻头彻尾的色彩画家。他的深蓝色和橙色,蓝绿色和朱红色的对比,吸引你进入他们的胃,因为他们邀请你参与更大的体验。
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绘画对于霍奇金来说是纯粹的表达;他无视抽象与再现、过去与现在、画布与框架的古典两极。他创造了自己的自信的手势格式,以及横扫的纹理。他喜欢郁郁葱葱的调色板,通过明暗的动态叠加在他的框架上,成为他独特的签名。他用最大的手势和饱和的色彩,创作出了看起来狂暴而有说服力的作品。他的书名是他在印度冒险经历的总结。《大歌上的孤独音符》霍奇金本身就是一个知识分子。1982年,他在泰特美术馆策划了《六名印度画家》。十年后,他为新德里的英国文化协会大楼设计了一幅白色Makrana大理石和黑色Cuddappah石的石头壁画。我们当中看过一棵大树投下移动阴影的壁画的人,都能与他的画产生共鸣。 When it was inaugurated, Hodgkin said: “I am not a symbolic artist and symbols on buildings often lose their meaning quite quickly, but as a symbol a tree is universal and embraces both life and knowledge.” Hodgkin passed away March 2017 in London. One of the finest eulogies on his work stated: “For Hodgkin, the success of each work is only ever a lonely note in a larger song, and so he keeps painting.” An apt epitaph for a Britisher who loved India so much that he spent many months —for over half a century here—long after the British had left. Howard Hodgkin: Painting India exhibition takes place as part of the UK-India Year of Culture. It will be on at the Hepworth Wakefield gallery until October 8, 2017.