J.W. Waterhouse (英語) ペーパーバック – 2005/3/1
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John William Waterhouse (1849-1917) is one of the most enduringly popular of the Victorian artists, and paintings such as The Lady of Shalott, Hylas and The Nymphs and Ophelia have become icons recognized the world over. With their compelling composition and glowing colour, these works are admired for their beauty and for their power to transport the viewer into a romantic world of myth and legend. At the same time, Waterhouse's wistful heroines also reflect the troubled attitudes of nineteenth-century male artists towards women. In this carefully researched new study, Peter Trippi presents a fresh and absorbing analysis of the artist's seductresses, martyrs and nymphs, and the cultural and historical circumstances in which they were produced. He also draws on new research to provide an accessible biography of the artist. Themes explored include Waterhouse's passion for Italy, literature and the classical world, the role of the Royal Academy in his life, his stylistic influences and studio practice, and his relations with collectors, dealers, critics and curators. Neglected throughout much of the twentieth century, Waterhouse has enjoyed a dramatic revival of fortune. Trippi's monograph provides a timely re-evaluation that combines a close reading of Waterhouse's imagery with a candid appraisal of the milieu in which he worked.
"A fresh and absorbing analysis."-Antiques Trade Gazette "Scholarly and detailed book."-Times Literary Supplement "A must for Pre-Raphaelite fans."-The Argus "This is good social art history in a sumptuous format."-Independent) "Until I read this meticulously researched, cogently argued and handsomely illustrated book, all I knew about Waterhouse could have been written on the back of a postage stamp."-World of Interiors) "While the book places the artist within his era, it is Trippi's sensitive descriptions of the works and his attention to technique and the painted surface that give his method innovation and insight. The handsome colour plates, including double-page spreads of such monumental works as St Cecilia (1895) and Hylas and the Nymphs (1896) as well as the hitherto unreproduced Gather Ye Rosebuds While Ye May (1909), substantiate Trippi's assertion that Waterhouse's complex aesthetic still compels audiences today."-Art Quarterly "Beautifully designed, sumptuously illustrated and reasonably priced... Trippi has produced a book which will appeal to a wide variety of readers."-Colin Cruise, Staffordshire University, The Art Book商品の説明をすべて表示する
ウォーターハウスは本書以外にも出版されているが、同出版社の”J W Waterhouse"anthony hobson著の様に作品が多々モノクロで掲載された物もある為、作品がじっくり鑑賞できる本書をお薦めする。前者でモノクロ収録の”the magic circle" "mariana in the south" "apollo and daphne"など他多数がカラー版として本書で蘇っている。やはり、幻想的で華やかな作品を楽しむにはカラー版を多く含んだものが適している。
The book is a combination of biography and critical analysis of Waterhouse's art. I am amazed at how many blank spots there are in his biography. He lived from 1840-1917, and the book includes much speculation, for example, as to whether or not he was in Italy at a particular time. One would have thought that someone as well known (as his career developed) would have had few such blanks in his life story. That also, of course, makes this book more intriguing still. The author of this book, Peter Trippi, speculates that Waterhouse's widow, after his death, may have destroyed his records and correspondence, but I'm not sure Trippi has much conviction on that point. And, indeed, if the author is correct, we know very little about Waterhouse's wife, Esther Kenworthy Waterhouse, outside of scraps of information.
I am not an artist nor am I an expert on art, so I cannot speak with great insight about his oeuvre. But I am surely impressed with the growth and development of his art over time. Some of his best work is most affecting to me.
He begins by painting, using classical themes (e.g., "The Death of [Horatius] Cocles"), fairy tales/folklore (e.g., "Undine") , images (so the author suggests), and females (e.g., "The Slave"). As his work evolved, his art became more subtle and telling (e.g., with the classical themes, see the progression from "The Death of Cocles" to "The Remorse of Nero" and "Diogenes" and "The Favourites of the Emperor Honorius").
The next phase of his career was a major step forward in his work. Some of the major works (which I find stunning and powerful, as one juxtaposes the story with his paintings): "The Lady of Shalott," "Saint Eulalia," "Mariamne," and "Ophelia" (different versions are powerful in their own right). This review is already too long. Suffice it to say that his work continued to evolve. Section 3 focuses on "Myth, Poetry, and Nature," and contains some stunning works. And so on.
The point: This volume traces the evolution of his work. The final chapter tries to place Waterhouse in context and make some judgments about his body of work. If, like me, you are not an expert in the work of J. W. Waterhouse, this book is a wonderful resource. Even if you know quite a bit, this would appear also to be most useful, pulling many of his works into one volume while providing a sense of who he was and what his life was like. From my perspective, this is an enchanting volume.
I was inclined to buy it following the path of excellent reviews at Amazon.com and I am not disappointed.
I love boks on painting that give a good balance between the artists' lives and their works, which is something not so common as you would think it should be.