Audio Tour

東館ツアー

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19 stops

  • A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”

    Audio Tour Stop 4

    Still Life: Le Jour, Georges Braque

    NGA, East Building, EG-103-B, N

    ジョルジュ・ブラックは、1910年パブロ・ピカソとともにキュビズムという新たな様式を確立したアーティストとして有名です。この作品は、キュビズムの要素を静物画やほかの主題に取り入れた、ブラックの後年の典型的な作品です。この作品では、テーブルの木目や背景の壁紙のデザイン、また新聞の文字などが模様と質感の相互作用を引き立てています。

    Still Life: Le Jour (Japanese)
  • The elongated head and neck of a person with stylized features is carved from beige-colored limestone for this freestanding sculpture. Though mostly carved smooth, the surface of the porous limestone is pocked and textured. In this photograph, the face is angled to our right. Short bangs line the narrow forehead of the tall, oval face. The hair flaring around the crown and behind the tidy, oval ear we see is roughly carved. The marquis-shaped eyes are set high on the face. Eyebrows immediately over the eyes join to make a long, blade-like nose that nearly reaches the bottom of the oval face. The arrow-shape of the nose ends just above a half-moon-shaped lip over a round chin. The long neck continues to a block of limestone that acts as the base. The sculpture is photographed in front of a background that lightens from charcoal gray across the top to nearly white across the bottom.

    Audio Tour Stop 5

    Head of a Woman, Amedeo Modigliani

    NGA, East Building, EG-103-A, E

    この作品には、アメデオ・モディリアーニの多くの絵画作品で見られる細面の顔立ちと、アーモンド形の目を特徴とする、彼特有の人物表現が見られます。モディリアーニは1920年に35歳で結核で死亡する前の1909年から1914まで、彫刻作品を中心に制作を行っていました。

    Head of a Woman (Japanese)
  • We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”

    Audio Tour Stop 6

    New York, George Bellows

    NGA, East Building, EG-106-B, W

    1911年に完成したこの作品《ニューヨーク》は、ベローズがニューヨークの現代生活の本質をとらえた意欲的な大型作品です。彼は、誰にも分かるような特定の場所を描くつもりはありませんでした。その代わりに、いくつもの繁華街を組み合わせた想像上の場所と、ごったがえす群衆の様相を描き、ニューヨークの熱気を効果的に伝えようとしたのです。

    New York (Japanese)
  • A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”

    Audio Tour Stop 7

    Ground Swell, Edward Hopper

    NGA, West Building, G-006, N

    《大波のうねり》に描かれた青い海、太陽の光を浴びた人物たち、そして大きな波のうねりは作品に穏やかな印象を与えています。しかし細部をよく見ると、最初の印象に疑問を感じるようになります。ブイは、さえぎるもののない海の風景の中で小型のキャットボートの前に立ちはだかっています。それはまだ見ぬ差し迫った危険に対して警鐘を鳴らすものであり、その存在が場面に不吉な雰囲気を与えています。そして、しばしば嵐の前兆とされる青い空に渦を巻く雲が不安な印象を強めています。

    Ground Swell (Japanese)
  • A winged person blowing a horn stands silhouetted in lilac purple against a field of alternating celery and muted lime-green bands in this abstracted vertical painting. The person’s body is angled toward us but they look over their shoulder, to our left in profile, as they hold a horn to their lips. The horn reaches into the top left corner of the composition, and the wings extend off the top edge of the canvas. A shallowly curving slit indicates the eye. The person stands with each foot on two rounded forms like stylized hills. The mound on our right is higher so the knee is bent, and the person holds a skeleton key in the hand propped on that knee. The hill to our right has wavy bands of muted pine and sage green, and the hill to our left has a zigzag line of the sage across the darker green. Farther from us, four people, smaller in scale, are outlined as amethyst-purple silhouettes. One person to our right of the angel kneels and raises their hands high overhead, face turned to the sky. Two more people standing on or behind the left mound are framed between the trumpeter’s legs. The fourth person stands with hands clasped, also looking up. Concentric arcs of lemon yellow and pale green suggest a sun in the upper left corner. The artist signed and dated the work with dark green paint in the lower right corner: “A. Douglas ’39.”

    Audio Tour Stop 9

    The Judgment Day, Aaron Douglas

    1927年、ハーレム・ルネサンスの中心人物であるジェームズ・ウェルドン・ジョンソンが彼の代表的な作品『神のトロンボーン:散文による7つの黒人の説教』を出版しました。それぞれの説教の詩には、その頃ハーレムに移り住んだ若きアフリカ系アメリカ人のアーティストのエーロン・ダグラスの挿絵が添えられました。その数年後、ダグラスはその挿絵をベースに大きな油彩作品を制作したのです。《審判の日》は、シリーズ8作品のうちの最後の作品です。中央には、大天使ガブリエルが陸と海にまたがって立っています。ガブリエルはトランペットを鳴らし、陸の国民を召喚するのです。

    The Judgment Day (Japanese)
  • A group of three men, two children, and one woman gather in an empty, dusky rose-pink landscape under a blue, cloudy sky in this nearly square painting. Most of the people have muted, peachy skin, and the woman and the youngest boy have cream-white skin. The woman sits on the ground to our right, apart from the rest of the men and children. She wears a coral-red skirt, a beige shawl, and straw hat, and she looks into the distance to our right. The others stand in a loose semi-circle on the left half of the composition. A man wearing a multicolored, diamond-patterned costume stands with his back to us to the left. He looks to our right in profile and holds the hand of a little girl who also stands with her back to us. She wears a pink dress and white stockings, and her right hand rests on the tall handle of a white basket. A portly man wearing a scarlet-red jester’s costume and pointed hat stands opposite this pair, facing us to our right. Next to him to our right a young man wears a tan-colored leotard with a black bottom. He holds a barrel over his right shoulder and looks over to our right. The sixth person is the youngest boy, who wears a baggy blue and red outfit, and he looks toward the woman. The eyes of all the figures are deeply shadowed.

    Audio Tour Stop 11

    Family of Saltimbanques, Pablo Picasso

    NGA, East Building, EM-217-C, E

    《サルタンバンクの家族》は、ピカソの初期の作品の中で最も重要な作品です。ピカソは、これらのさすらいの曲芸師や踊り子、道化師などのサルタンバンクたちに、世間から見捨てられ社会の底辺に生きるアーティストたちの悲哀を重ね合わせ、自らをある種の同類と感じていたのです。スペイン生まれのピカソは、パリに移り住んだ最初の数年間、彼ら同様に貧しい生活を送りながら、世間から認められることを目指していました。一番左に描かれた菱形模様の衣装を着た陰気な道化師は、若い頃のピカソの浅黒く真剣な顔をしています。

    Family of Saltimbanques (Japanese)
  • A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”

    Audio Tour Stop 13

    Open Window, Collioure, Henri Matisse

    NGA, East Building, EM-217-B, E

    アンリ・マティスの 《コリウールの開かれた窓》 は、現代の私たちの目には穏やかで叙情的に移るかもしれません。しかし、作品の発表当時、その太い筆致や鮮烈な色使いは暴力的ととらえられました。小さいながら激しさを感じさせる、初期のモダニズムを象徴するこの作品は、フォービズムの最も重要な作品の一つとして知られています。フォービズムのアーティストたちは、自然の姿の忠実な再現から離れて、自由な色使いや質感を追求しました。《コリウールの開かれた窓》 は、マティス作品における新たな作風の契機となった作品でした。

    Open Window, Collioure (Japanese)
  • Two nude women, painted in vibrant coral peach and bubblegum pink, stand under a red umbrella in a landscape in this stylized, vertical painting. The scene is painted with areas of flat or streaked color with visible brushstrokes throughout. The women and umbrella take up most of the picture. The woman on our left stands facing our right almost in profile. Her skin is vivid peach. Slashes of red outline her breasts, groin, and legs. Her hair, eyes, and eyebrows are painted with black strokes. She stands on one leg and stretches the other in front of her to overlap the far foot of the other woman. The first woman hooks her arm through the elbow of the other, who stands facing us to our right. This second woman has vivid pink skin also outlined in red. Her face is a darker shade of pink, resembling a mask, and her eyes are parallel strokes of black and blue. Her left arm, on our right, hangs by her side, and she holds the umbrella with the other arm. She either wears a hat or her hair is painted with alternating bands of black, red, and brown, and there is a red flower or bow to one side. Black lines in the candy-red umbrella suggest a rib on the underside and the handle. Cobalt-blue branches of a tree above the women has blue and green leaves. The landscape beyond them is made up of bands of acid green, yellow, saturated blue, and cool green.

    Audio Tour Stop 14

    Two Girls under an Umbrella, Ernst Ludwig Kirchner

    NGA, East Building, EM-217-A, S

    この作品は多くの作品を残したエルンスト・ルートヴィヒ・キルヒナーの初期の作品です。彼は1905年にドレスデンで結成された、ドイツ語で「橋」を意味するブリュッケと呼ばれるドイツ表現主義グループの結成メンバーでした。この作品でキルヒナーは、従来のアトリエの不自然な空間ではなく、自然を背景に二人の裸婦を描いています。作品は、キルヒナーの大胆で、往々にして荒々しい形や鮮やかな色使いの典型を示しています。

    Two Girls under an Umbrella (Japanese)
  • Black lines and one small, black triangular shape stand out against patches of color, in indigo and sky blue, pumpkin orange, butter yellow, emerald green, and ruby red, against a white background in this vertical, abstract painting. The paint seems thinly applied, resembling watercolor. Near the lower right corner, the black shape is roughly triangular and has five curving, parallel lines emanating from the bottom. Given the title of this painting, Improvisation 31, Sea Battle, the black lines could represent tall masts and outlines of sails amid areas of vibrant color that make up a boat and water around it.

    Audio Tour Stop 15

    Improvisation 31 (Sea Battle), Wassily Kandinsky

    NGA, East Building, EU-415-A, S

    ワシリーー・カンディンスキによるこの作品は、現実の世界といくらか関連性はあるものの、雰囲気を伝えるため細部は歪曲され、調整されています。輪郭のない淡い色調の形は一見完全に抽象的に見えますが、描かれているモチーフの多くは見分けることができます。《即興 No.31(海戦)》の中心に描かれているのは、戦っている2隻の帆船で、高いマストは細長い黒い線で表されています。カンディンスキの《即興》 シリーズの多くで見られるこの題材は、恐らくヨハネの黙示録の終末論的なイメージから着想を得ていると思われます。

    Improvisation 31 (Sea Battle) (Japanese)
  • Carved from a slab of white marble, the top surface of this sculpture is covered with shallow, cuplike and deep rectangular depressions of various sizes. We look slightly down onto the slab in this photograph. The surface is divided into three vertical sections, which are defined by incised lines. The cuplike depressions are in the sections to the left and right. Two tiny, carved, dark wooden objects, like game pieces, stand upright in a cup with one the left and one to the right. Each piece is flat with a symmetrical design and a point at the bottom that inserts into the cup. The left piece has a disk flanked by triangular protrusions with a clover shape at top. The second piece has four stacked, small circles, and a U-shaped form to suggest the outline of a person with raised arms. Three smaller but deep rectangular cavities are carved into the middle section, and each one has a lid. Two lids sit askew on the top surface of the board near their respective openings, and inside are additional wooden pieces. A blank, rectangular section outlined with lightly inscised lines in the lower right is carved with reversed script letters that read, “on ne joue plus.” The entire surface has beveled edges, so it sits on a stepped base.

    Audio Tour Stop 16

    No More Play, Alberto Giacometti

    NGA, East Building, EU-415-B, CENTER

    シュルレアリスムの偉大な彫刻家の一人であるアルベルト・ジャコメッティは、活動初期にこの作品のようなゲームや遊びのテーマを頻繁に題材にしていました。ジャコメッティがこの作品で使用した形は、駒を動かして遊ぶボードゲームに似ていますが、そのゲームがどんなものなのかははっきりしません。曖昧な空間と、作品名の《ノー・モア・プレイ》で表現されている知るよしのない「ゲーム」のルールは、作品をまるで夢の中に出てくるようなものに感じさせます。

    No More Play (Japanese)
  • This free-standing sculpture is a French window with a teal-colored frame and black, leather-lined glass panes standing on a flat, shallow base. Each door is made up of four, vertically stacked, equally sized panes. The doors are hinged on a narrow frame and open with small, clear knobs placed next to the second pane down from the top. The doors are slightly ajar. Black writing in capital block letters on the top surface of the base is legible in this photograph. It reads, “FRESH WIDOW COPYRIGHT ROSE SELAVY 1920.”

    Audio Tour Stop 17

    Fresh Widow, Marcel Duchamp

    NGA, East Building, EU-415-B, CENTER

    マルセル・デュシャンは、絵画や彫刻への従来のアプローチを特徴づけていた前提に挑んだアーティストです。アメリカの安くて手軽な複製品の考えに魅了されていたデュシャンは、自然物や人工物を彼が「レディ・メイド」と呼んだ自分の作品に取り入れはじめました。その名前は彼がニューヨークに住んでいたときに、ファッション業界からとったものです。彼はこれらのありふれた品々のほとんどを、自分の署名を加えること以外何ら変更することなく展覧会で展示しようとしてアート界に衝撃を与えました。フランス窓を意味する「French Window(フレンチ・ウインドウ)」からnを省いた言葉遊びとなっているこの作品のタイトルは、パリのアパートによくある両開きの窓と、第一次世界大戦で最近未亡人となった女性達の両方にかけています。このミニチュアの窓はデュシャン自身が制作したものではなく、アメリカ人の大工に作らせたものです。

    Fresh Widow (Japanese)
  • The top section of this abstract sculpture is made up of a vertical, elongated form cast in gleaming brass that swells gently at the center and tapers to a point at either end. Near the bottom point, the form flares out slightly to make a tall, conical foot. This sits atop a short, cylindrical, white limestone base on a wood pedestal. The pedestal is carved to look like a disc at the center flanked above and below by semicircles with the flat edges facing up and down. The sculpture is photographed against a pale gray background.

    Audio Tour Stop 18

    Bird in Space, Constantin Brâncuși

    NGA, East Building, EU-415-C, CENTER

    この彫刻作品は抽象作品のような印象を与えますが、 コンスタンティン・ブランクーシは彼の作品は主題の内面の本質を明らかにしたものだと主張しています。 彼の作品はアフリカの彫刻とルーマニアの民芸彫刻の伝統をベースにし、さらに台座を作品の一部として取り入れています。《空間の鳥》のシリーズに長年取り組んでいたブランクーシは、シリーズをいずれ彼の最高の功績となる集大成ととらえていました。他の彫刻家とは異なり、ブランクーシは大きな工房をもたず、自ら石を削り、真ちゅうを磨いて、一人で作品を制作しました。

    Bird in Space (Japanese)
  • This abstract, geometric painting has been tipped on one corner to create a diamond form rather than a square. The surface of the canvas is crisscrossed by an irregular grid of black lines running vertically and horizontally like offset ladders. The black lines create squares and rectangles of different sizes, and the width of the lines vary slightly. One complete square sits at the center of the composition and is painted white. Other rectangles are incomplete, their corners sliced by the edge of the canvas, and each is a different shade of white with hints of pale blue and gray. The black grid creates triangular forms where it meets the angled edge of the canvas in some places, and some of these are filled with flat areas of color. A tomato-red triangle is placed to the left of the top center point, and a vibrant yellow triangle is to the left of the lower center point. A black triangle is next to it at the bottom center, and a cobalt-blue triangle is situated just below the right point. The painting is signed with the artist’s initials at the lower center: “PM.”

    Audio Tour Stop 19

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, Piet Mondrian

    NGA, East Building, EU-415-C, W

    ピエト・モンドリアンは自身の抽象画を通して、普遍的な調和は自然に宿るという精神的な概念を表現しようとしました。バランスのとれた左右非対称を生み出すために慎重に計算された構図の水平と垂直の要素は、自然界で働く動的平衡と匹敵する反作用の力を表しました。モンドリアンは菱形の構図は切り取ることを意味すると言っていましたが、この作品でもそれが明確に感じられます。描かれた形状はカンヴァスの端で切断され、完全ではありません。それは絵画が物理的な境界を越えてカンヴァスの外へ広がっていることを暗示させます。

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, Piet Mondrian (Japanese)
  • Tall, narrow, black building fronts fill this abstracted, horizontal painting. Partitions separating the buildings extend above the rooflines, and those, along with low domes atop some of the buildings, brush the top edge of the canvas. The narrow band of sky between the flat rooflines and the top of the composition is filled with cream-white paint, applied heavily in thick strokes. The buildings are painted with wide, horizontal strokes of black paint. The outlines of doors, windows, and the brick partitions between the buildings were incised into wet paint to delineate those features. Some of the outlines are also streaked with cobalt blue, butter yellow, brick red, and plum purple. Six people with oversized, round, peach-colored heads on spindly black bodies look out at us from windows across the composition. Cartoon-like eyes, noses, and smiling mouths are incised into wet paint. Along the bottom level, the buildings are numbered 78, 80, 82, and 84. Signs, also incised in wet, black paint to reveal white outlines, appear over the doors. The leftmost building reads “OPTICIEN” above “Leroy.” The next store is “PARFUMS,” then “MODES,” “Coiffeur,” “JOURNEAX,” “PRIMEURS,” and “BAR.” Under “PRIMEURS,” a sign on the store front reads “FRUITS ET LEGUMES.” Two people walk along the street, at the bottom of the canvas. One is to our left of center and stands facing us, smiling. The other is to our right, also smiling as he walks to our left in profile.

    Audio Tour Stop 20

    Façades d'immeubles (Building Façades), Jean Dubuffet

    NGA, East Building, EU-407-A, N

    第二次世界大戦後、絵画は原点に戻って一から作り直さなければならないと感じていたジャン・デュビュッフェは、素人の芸術、特に子供や独学で学んだアーティスト達の作品に発想のヒントを求めました。それを彼は「アール・ブリュット」 、粗野または生の芸術と名付け、収集しました。この《建物のファサード》でデュビュッフェは彼自身の「アール・ブリュット」 を披露しています。表面の黒い絵具をひっかいて色のついた下地の部分を表す、学校の授業で習うような技法をつかい、デュビュッフェは子供の目を通してみているようなパリの通りの風景を表現しています。しかしながら、慎重に配置された碁盤目状の構図や力強く施された表面の絵具などから、彼が現代的な技法を意識していたことがうかがえます。

    Façades d'immeubles (Building Façades) (Japanese)
  • Densely spaced lines and splatters in black, white, pale salmon pink, teal, and steel gray crisscross a rectangular cream-colored canvas in this abstract horizontal painting. The lines move in every direction. Most are straight but some curve slightly. The density eases a bit near the edges. Two sets of ghostly white handprints are visible at the upper corners. The artist signed and dated the painting in black paint in the lower left corner: “Jackson Pollock ’50.”

    Audio Tour Stop 22

    Number 1, 1950 (Lavender Mist), Jackson Pollock

    NGA, East Building, EU-407-B, W

    ジャクソン・ポロックの壁画サイズのドリップ・ペインティングは、1948年の発表当時、賛否両論を巻き起こしました。この作品で、彼は納屋を改装したアトリエの床を覆い尽くすほど大きいカンヴァスを床に置き、塗装ペンキや油絵具、エナメル、アルミニウムなどを使って、カンヴァスの周りを歩きながら筆や柄から絵具を垂らしたり、こぼしたり、浴びせかけて制作しました。ポロックはこれが制作過程において彼が作品の中に入り込み、媒介者の役割を果たす方法だと語っています。カンヴァスの左上の隅と上部には、彼の手形の「署名」が残されています。

    Number 1, 1950 (Lavender Mist) (Japanese)
  • The Disney cartoon characters, Donald Duck and Mickey Mouse, fish off a dock in this horizontal painting. The scene and characters are painted entirely flat areas of canary yellow, cobalt blue, tomato red, and white. To our left, Donald leans over the edge of the dock with his feet spread and duckbill hanging open. He has a white body outlined in blue, big eyes filled with a pattern of tiny blue dots, and yellow feet and duckbill. He wears a blue sailor’s hat and jacket with a red bow tie and yellow circles indicating buttons. He holds a fishing pole with an oval, red bobber near the fishhook high over his head. The pole has bent back with the fishhook snagged on the back hem of Donald’s jacket. A white speech bubble over Donald’s head is outlined in blue, and blue text inside reads, “LOOK MICKEY, I’VE HOOKED A BIG ONE!!” Mickey stands to our right, covering his smiling mouth with his left hand, on our right, and holding an upright fishing pole with the other hand. His round face is filled with a pattern of tiny red dots, and his curving hairline and ears are blue. He wears blue pants, a red shirt and shoes, and white gloves. The dock is mostly yellow with a white area on the right. Its planks and three white, round posts supporting it are outlined in blue. Rippling water surrounding the dock is defined by wavy lines and undulating bands of blue against a yellow background. The artist signed his initials in the lower left, “rfl.”

    Audio Tour Stop 25

    Look Mickey, Roy Lichtenstein

    この作品《おい、ミッキー》は、ロイ・リヒテンシュタインが大衆文化のある場面と様式を取り入れて作成した最初の作品と思われます。そのベースとなったのが1960年に発行された絵本『ドナルド・ダック:ロスト・アンド・ファウンド』[ET1] です。リヒテンシュタインは、絵本の背景の人物を省き、視点を90度変え、色調を黄色と青の帯にまとめ、キャラクターの表情を簡略化するなどして微妙に変化させ、もっと統一された画像を作り上げました。様式としては、太くて黒い輪郭線や原色を使用した色使い、ドナルドの目とミッキーの顔に見られるインクのドットなど、印刷物の様式を模倣しています。このドットは、当時大衆向けの漫画や雑誌で使用されていたベンディ印刷で使われるものでした。

    Look Mickey (Japanese)
  • A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling in this sculptural piece. The dowel is perpendicular to the wall so juts into the gallery space. In this photograph, we are almost in front of the piece, near the wall to look onto one of the long sides. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

    Audio Tour Stop 27

    Test Piece for "Contingent", Eva Hesse

    エヴァ・ヘスが作ろうとしたのは、彼女が考える伝統的な美しい彫刻作品ではありませんでした。彼女は金属や石など伝統的な彫刻の素材を退け、代わりに樹脂や石膏、ラテックスなど、もっと柔軟性のある素材を好んで使用しました。この作品で使用されているのもラテックスです。この作品は《不慮の出来事》のためのいくつかの習作の一つで、その8つの似通った垂れ幕からなる完成作品は、オーストラリア国立美術館に展示されています。ヘスは作品を「絵画でもなく、彫刻でもない…これはつり下げられた絵画なのです」と述べています。

    Test Piece for "Contingent" (Japanese)
  • Two black bands span the height of this vertical canvas against a field of white mottled with shades of ivory, bone, and parchment in this abstract painting. A narrow, solid black stripe lines the left edge of the canvas, like the spine of a book. About a quarter of the way in from the right edge, black paint swirls and wafts like smoke on either side of a narrow white stripe the same color as the background. The artist signed and dated the painting in black paint in the lower right corner of the canvas: “Barnett Newman 1958.”

    Audio Tour Stop 29

    First Station, Barnett Newman

    NGA, East Building, ET-615-B, W

    抽象表現主義運動の中心人物のひとりだったバーネット・ニューマンは、絵画や彫刻、執筆において自身の考えを確立した知識人でした。1940年代の半ば、ニューマンは「ジップ」と呼ばれる特徴的な垂直の要素を用いて単色のカンヴァスを区切る、最初の一連の作品を制作しました。この作品は、後に彼が最終作となる15作目の《存在せよ、II》を含め、あわせて《十字架の道行き》と命名した、14点の作品からなるシリーズの最初の作品です。《十字架の道行き》は、第二次世界大戦やホロコーストを受けてアーティストが直面していた、「われわれは何を描いたらよいのだろう?」という疑問、彼が「モラルの危機」と呼んだ疑問に答えようとした、彼のキャリアで最も野心的な作品です。

    First Station (Japanese)