Surreal Spaces 进口超现实空间:利奥诺拉·卡林顿的生活与艺术

作者: Joanna Moorhead
出版社: Thames and Hudson
ISBN: 9780500025512

出版时间: 2023-06
装帧: 精装
页数: 224页

作者: Joanna Moorhead
出版社: Thames and Hudson

ISBN: 9780500025512
出版时间: 2023-06

装帧: 精装
页数: 224页

售价 240.00

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上书时间2023-10-26

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商品分类：

艺术

商品描述：

出版社 ‏ : ‎ THAMES HUDSON (2023年6月1日)

语言 ‏ : ‎ 英语

ISBN-10 ‏ : ‎ 0500025517

ISBN-13 ‏ : ‎ 978-0500025512

商品重量 ‏ : ‎ 788 g

页面信息仅供参考，具体以实物为准

内容简介

这是一本关于杰出的先锋艺术家莱昂诺拉·卡林顿的图文并茂的传记，通过对她有意义的房屋和地点来讲述，是了解她作品的基础。

本书是一部令人回味的视觉编年史，通过室内装饰、国际场所和老照片来介绍莱昂诺拉·卡林顿的生活，引导读者在她所居住的许多空间中进行个人旅行，这些空间渗透并困扰着她的艺术和她所认识的人。

长期以来，卡林顿被低估了，现在不仅在女性艺术家的历史中，而且在超现实主义的历史中都被认为是先锋之一；她的兴趣--女权主义、生态学和提高生活质量的艺术--现在被许多人分享。卡林顿挑战她那个时代的传统，放弃了家庭、社会和英国，接受新的体验，与欧洲和美国的艺术家们混在一起，并形成了她自己独特的艺术风格。

从兰开夏郡到伦敦，从康沃尔郡到法国和西班牙，再到墨西哥、纽约，最后回到墨西哥，每一个地方和室内都在她的记忆中留下了痕迹--无论是她祖母的厨房和巨大的炉子、巴黎的咖啡馆、法国的乡村隐居地、桑坦德的疗养院还是她的墨西哥避难所--只是在她的绘画和著作中得到了回应，有时是几十年后。房子其实就是身体，"她在她的长篇小说《听见的小号》（1974）中写道，"我们把自己与墙壁、屋顶和物体联系在一起，就像我们挂在我们的肝脏、骨骼、肉体和血流上。

An illustrated biography of the remarkable and pioneering artist Leonora Carrington, told through the houses and locations that had meaning for her and are fundamental to an understanding of her work.

An evocative visual chronicle on the life of Leonora Carrington as seen through interiors, international locations and vintage photographs, this book leads the reader on a personal journey through the many spaces she inhabited and which infused and haunted her art and the people she knew.

Long underrated, Carrington is now considered as one of the vanguard, not only in histories of women artists but also Surrealism; her interests – feminism, ecology and life-enhancing art – are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society and England to embrace new experiences and mix with artists in Europe and America, and to forge her own unique artistic style.

From Lancashire to London, Cornwall to France and Spain, then to Mexico, New York and finally back to Mexico, each place and interior became etched in her memory – whether her grandmother’s kitchen with its giant stove, Parisian cafés, a rural French hideaway, the sanatorium in Santander or her Mexican sanctuary – only to be echoed, sometimes decades later, in her paintings and writings. ‘Houses are really bodies,’ she wrote in her novella The Hearing Trumpet (1974), ‘We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and blood streams.’
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