آيڤان ألبرايت

آيڤان ألبرايت
Ivan Albright
پورتريه ذاتي
وُلِدَ
Ivan Le Lorraine Albright

(1897-02-20)فبراير 20, 1897
North Harvey, Illinois
توفينوفمبر 18, 1983(1983-11-18) (aged 86)
وودستوك، ڤرمونت
التعليممعهد الفن في شيكاغو
The National Academy of Design
Pennsylvania Academy of the Fine Arts
عـُرِف بـرسم زيتي، رسم، شعر
العمل البارز
صورة دوريان گراي (1943-44)
That Which I Should Have Done I Did Not Do (The Door) (1931-41)
Into the World There Came a Soul Called Ida (1929-30)
Portrait of Mary Block (1955-57)
Poor Room-There Is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever, and Forever and Forever without End (The Window) (1942-63)
الحركةواقعية سحرية
الزوج
​
​
(m. 1946)​
الأنجال2
الوالد(ان)

آيڤان ألبرايت Ivan Albright (عاش 1897-1983م). رسّام أمريكي يتميز بأسلوب ومنهج خاص به يختلف عن أساليب أقرانه من الفنانين الآخرين الذين عاصروه. تركزت الفكرة الرئيسية لأعماله حول تدهور شكل الإنسان بسبب التقدم في العمر. فقد أوضحت أعماله آثار الزمن على الأفراد وبتفاصيل تكاد تكون مجهرية. ومن أشهر وأنجح أعماله لوحة باسم ماكان يجب عليّ فعله ولم أفعله (1931- 1944م) وهي تُظهِر يدًا متجعدة تغلق بابًا قديمًا مزخرفًا بإكليل وزهرة ذابلة. ومن أعماله أيضًا صورة لدوريان جراي (1934-1944).

From a family of artists and artisans, Albright emerged on the American art scene in the 1930s and established a reputation as one of the most enigmatic of the American Realists.[1] He shocked, awed and upset the viewing public through his emphasis on the fragility of the body, flesh and the human condition with such works as The Lineman (1928), That Which I Should Have Done I Did Not Do (The Door) (1931), and The Picture of Dorian Gray (1943).[2] His work to highlight the minute detail and texture of every surface often required him to spend years or decades on a single painting.[1]

While Albright's works can be found in museums throughout the United States, the most important repository of his works is at the Art Institute of Chicago.[3]

حياته

Before the birth of Ivan Le Lorraine and his identical twin brother Malvin Marr Albright, the Albright family (formerly the Albrecht family) was already known for artwork and craftsmanship. Ivan's paternal great-great-grandfather Andreas Albrecht was a master gunsmith in Thuringia, Germany, a family trade passed down to Ivan's grandfather Zachariah.[5] Likewise, Ivan's father Adam Emory Albright was an Impressionist painter and student of Thomas Eakins who built his reputation on landscapes and idealized paintings of children.[6]

وُلِد ألبرايت في شيكاغو. نفذ أثناء الحرب العالمية الثانية رسومات توضيحية طبية في المستشفيات العسكرية ترتبط باهتماماته اللاحقة في مجال الفن.

الأعمال الرئيسية

انظر أيضاً: قائمة الأعمال الفنية لآيفان ألبرايت

إلى العالم جاءت روح اسمها آيدا (1929–30)

This painting is a grotesque depiction of a woman who (based on the title) is named Ida.[7] Within this painting there are several references to the idea that the human body is weak and that we are all trapped within our physical forms. There appears to be a conflict happening between the soul and the body.[8] The figure is seated in a room that is cluttered and in a state of disrepair. She is looking into a hand mirror with a look of sadness on her face. One reading of this is that she is sad because of her age and lack of beauty.[7] Some people believe she is an old actor or possibly a prostitute.[8] Ida is akin to many of Albright's other works due to the dead and decaying look of the figure as well as the deeper (and often dark) meanings that are hidden within.

ما كان يجب علي عمله لم أفعله (الباب) (1931–1941)

One of his most famous paintings, titled That Which I Should Have Done I Did Not Do (The Door), took him ten years to complete and won top prize at three major exhibitions in New York City, Chicago, and Philadelphia in 1941. The prize at the Metropolitan Museum of Art in New York earned him a $3,500 purchase award towards the painting and its place in the permanent collection, but Albright set the purchase price at $125,000. Instead he took First medal, allowing him to keep the work. This painting is currently on view at the Art Institute of Chicago.[9]

صورة دوريان گراي (1943)

صورة دوريان گراي، 1943، زيت على كانڤاس، 85 * 42 بوصة.

In 1943, Albright was commissioned to create the titular painting for Albert Lewin's film adaptation of Oscar Wilde's The Picture of Dorian Gray. His naturalistic, exaggerated depictions of decay made him suited to create the image of the corrupted Dorian. His brother was originally chosen to do the beginning, uncorrupted painting of Gray. However, the painting used in the final film was from Henrique Medina. When changes to Medina's painting were needed to show Gray's fall, Albright painted them. His painting of the corrupted Dorian Gray currently resides in the Art Institute of Chicago.[10] Allegedly, Albright kept retouching the painting while being shown at the Art Institute of Chicago.[11]

السمعة والذكرى

پورتريه ذاتي، 1934، زيت على كانفاس، مجموعة مدرسة نيو ترير الثانية 203.

Albright's paintings can be found in some of the most prominent institutional collections in the United States, including the Museum of Modern Art,[12] the Metropolitan Museum of Art,[13] the Detroit Institute of Arts,[14] the National Gallery of Art,[15] the Whitney Museum of American Art,[16] and the Solomon R. Guggenheim Museum.[17] The largest and most important collection of Albright's artworks and archives is held at the Art Institute of Chicago, demonstrating his singular relationship with the institution.[18] Between donations from the artist, his family and his patrons, the Institute now holds 137 paintings, drawings, prints and sculptures.[19] In turn, the institute works to promote his legacy through the publication of scholarly catalogues and exhibition of works.[18] Major retrospectives of his work were held in 1964 and 1997. In addition, smaller exhibitions were held in 1978, 1984 and 2018.[20][21]

ثقيلٌ هو المجداف للمرهـَق، ثقيل هو المعطف، ثقيل هو البحر، 1929، زيت على كانڤاس، 53 1/4 * 34 بوصة.

The Art Institute of Chicago's collection was the result of Albright's own savvy in cementing his reputation among high-level museums and collectors.[22] During the 1940s and 1950s, Albright repeatedly allowed prominent institutions to exchange works for superior examples: in 1947, the Institute exchanged Woman (1928) for Into the World There Came a Soul Called Ida (1929–30); and in 1956, along with financing from donors they traded Ida together with Heavy the Oar to Him Who Is Tired, Heavy the Coat, Heavy the Sea (1929) and Oh God, Herrings, Buoys, the Glittering Sea (1940) for Albright's masterpiece The Door (1931–1941).[23] In 1977, Albright gifted seventy-five of his personal collection to the museum, returning several works that had been traded before.[24] Upon Albright's death, his widow Josephine Patterson Albright donated an additional twenty self-portraits as well as a collection of archival materials, now held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The archive includes photographs, scrapbooks, sketches, notebooks, a film, and other materials documenting his life and career.[24]

انظر أيضاً

المراجع

  1. ^ أ ب James Rondeau, “Foreword,” in Oehler (2019), para 2
  2. ^ خطأ استشهاد: وسم <ref> غير صحيح؛ لا نص تم توفيره للمراجع المسماة :7
  3. ^ James Rondeau, “Foreword,” in Oehler (2019), para 1
  4. ^ John P. Murphy, “Flesh: Ivan Albright and the Aesthetics of Ugliness,” in Oehler (2019), para 19
  5. ^ Croydon (1978), pp. 19–20
  6. ^ Croydon (1978), p. 23
  7. ^ أ ب "A Master of the Flesh and Painter of the Soul". Hyperallergic (in الإنجليزية الأمريكية). August 4, 2018. Retrieved April 10, 2019.
  8. ^ أ ب Lee, Elizabeth (2015). "Ivan Albright's Ida and the "Object Congealed around a Soul"". American Art. 29 (3): 104–117. doi:10.1086/684922. ISSN 1073-9300. S2CID 192620547.
  9. ^ "That Which I Should Have Done I Did Not Do (The Door)". The Art Institute of Chicago (in الإنجليزية). Retrieved April 10, 2019.
  10. ^ "Picture of Dorian Gray". artic.edu (online art catalog entry). Art Institute of Chicago.
  11. ^ Ferris, Emil (2024). My Favorite Things is Monsters, part 2. Fantagraphics Books. ISBN 9781683969273.
  12. ^ "Ivan LeLorraine Albright. Woman. 1928 | MoMA". The Museum of Modern Art (in الإنجليزية). Retrieved July 24, 2020.
  13. ^ "Fleeting Time Thou Hast Left Me Old". www.metmuseum.org. Retrieved July 24, 2020.
  14. ^ "Ivan Albright, Burgomeister with Key, 1926". www.dia.org. Retrieved July 24, 2020.
  15. ^ "There Were No Flowers Tonight". www.nga.gov. Retrieved July 24, 2020.
  16. ^ "Ivan Le Lorraine Albright | Roaring Fork, Wyoming". whitney.org (in الإنجليزية). Retrieved July 23, 2020.
  17. ^ Croydon (1978), plate 70
  18. ^ أ ب James Rondeau, “Foreword,” in Oehler (2019), para 1
  19. ^ "The Collection," The Art Institute of Chicago, search narrowed for artist "Ivan Albright," accessed February 7, 2021. https://www.artic.edu/collection?artist_ids=Ivan+Albright
  20. ^ Sarah Kelly Oehler, “Introduction,” in Oehler (2019), para 10
  21. ^ Sarah Kelly Oehler, “Introduction,” in Oehler (2019), para 12
  22. ^ Sarah Kelly Oehler, “Introduction,” in Oehler (2019), para 3
  23. ^ Sarah Kelly Oehler, “Introduction,” in Oehler (2019), para 3–5
  24. ^ أ ب Sarah Kelly Oehler, “Introduction,” in Oehler (2019), para 2

ببليوجرافيا

  • Croydon, Michael (1978). Ivan Albright. New York: Abbeville Press. ISBN 9780896590021.
  • Donnell, Courtney Graham; Wenninger, Susan S.; Cozzolino, Robert (1997). Rossen, Susan F. (ed.). Ivan Albright. Chicago: Art Institute of Chicago. ISBN 9781555951368. Exhibition catalogue.
  • Grayson, Gael, ed. (1978). Graven Image: The Prints of Ivan Albright, 1931–1977. Lake Forest, IL: Lake Forest College. OCLC 5220669. Exhibition catalogue.
  • Oehler, Sarah Kelly, ed. (2019). Ivan Albright Paintings at the Art Institute of Chicago. Chicago: Art Institute of Chicago. ISBN 9780865593039.{{cite book}}: CS1 maint: location missing publisher (link) Published following the exhibition Flesh: Ivan Albright at the Art Institute of Chicago, organized by and presented at the Art Institute of Chicago, May 4 – August 4, 2018.
  • Sweet, Frederick A. (1964). Ivan Albright: a retrospective exhibition organized by the Art Institute of Chicago in collaboration with the Whitney Museum of American Art. Chicago: Art Institute of Chicago. OCLC 472225602. Exhibition catalogue.

تذييل


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