Format papirja

Priročnik za študentska dela

Katatay (To Tremble)

Ime in priimek Razred Datum

alfredo chavez marquez, Katatay (To Tremble) (2003), Museo de Arte de Lima. Reproducirano v informativne namene; vse pravice so pridržane v rokah upravljavca pravic.

Podrobnosti

Umetnik
alfredo chavez marquez wahooart.com/sl/artists/alfredo-chavez-marquez/
Datumi rojstva in smrti umetnika
1922 – 2014
Naslikano
2003
Prvotna velikost
1100 x 1550 cm
Na lokaciji
Museo de Arte de Lima wahooart.com/sl/museums/museo-de-arte-de-lima-lima_sl/

V kontekstu

Katatay (To Tremble) — alfredo chavez marquez

Dimenzije

Prvotne dimenzije so 1100 × 1550 cm (višina × širina), prikazane tukaj v primerjavi z odraslo osebo povprečne višine. Preveliko je za prikaz v ustreznem razmerju na tej strani.

Kdaj je bilo to naslikano?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990
  9. 2000
  10. 2010

Osenčeno: življenjsko obdobje alfredo chavez marquez (1922–2014) ▲ to delo, 2003

Barve

Izmerjeno na podlagi slike

    Glavna barva

    Putty #d3cfd0

    Shranjena paleta

    • #D3CFD0
    • #7D6A70
    • #BDA59B
    • #694338
    Paleta barv
    Earthy Prevladujoča barvna družina na sliki.
    Naziv primarne barve
    Putty
    Intenzivnost
    Balanced Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
    Kontrast
    Bold V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
    Harmonija
    Strong Color Unity Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
    Zasvetlina
    Bright Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
    Zasičenost
    Subtle Color Kolikograščena in močna so barve, od skoraj sivih do popolnoma živahnih.

    O tem umetniškem delu

    Katatay (To Tremble) — alfredo chavez marquez

    Katatay is the Quechua word for the act of trembling and, by extension, an earthquake. In recent Peruvian culture it is recognized as the title of a famous poem by Quechua-language writer José María Arguedas (1911-1969), which critically discusses the Eurocentric idea of the subordinate role of Andean culture in the development of Peru. Artist Alfredo Márquez uses one of the verses of the poem to enunciate the perturbing phrase “Dicen que somos el atraso” [They say we are backwardness] written on the image of two people who disappeared in the violence of Peru’s internal conflict in the period 1980-1990. The images have undergone dramatic color treatments and are accompanied by statements of relatives and survivors of this period (excerpted from the report published in August 2003 by the Commission for Truth and Reconciliation). Although this work was originally conceived for display in advertising spaces at bus stops as a means of raising civic awareness, in this exhibition it appears in the refined spaces of high culture but with the same aim of causing the viewer to momentarily pause in his/her everyday routine, to rethink crucial social issues. (TC)

    Umetnik in muzej

    Umetnik

    alfredo chavez marquez

    Rojen v Winkelmann, United States of America

    Lucian Freud: A Portrait of the Soul

    Lucian Michael Freud (1922-2011) remains one of the most significant and intensely debated figures in 20th-century British art. More than simply a portrait painter, Freud offered a profound exploration of human psychology, capturing not just outward appearances but also the inner lives and vulnerabilities of his subjects – friends, family, lovers, and even the occasional stranger. His work, characterized by its thick impasto, unsettling interiors, and often confrontational intimacy, continues to provoke and fascinate viewers decades after its creation.

    Born in Berlin during a period of immense political upheaval, Freud’s early life was shaped by his family's Jewish heritage and their eventual emigration to London in 1933. This experience profoundly influenced his artistic sensibility, fostering a sense of displacement and an acute awareness of the complexities of identity. His father, Ernst Freud, was the fourth child of Sigmund Freud, the renowned psychoanalyst, though Lucian maintained a deliberately distanced relationship with his famous uncle. This familial connection, however, undoubtedly contributed to the intellectual currents that informed his artistic development.

    Freud’s formal art training began at Bryanston School and later at Dartington Hall, where he encountered a group of progressive educators who emphasized experiential learning and encouraged experimentation. However, it was his time in Paris during the 1940s – a period heavily influenced by Surrealism – that initially shaped his artistic approach. He experimented with dreamlike imagery and explored the subconscious, but quickly moved beyond this early influence to develop a distinctly realist style, albeit one radically different from traditional portraiture. His early works, such as “Portrait of Kitty” (1948-49), already hinted at the intensity and psychological depth that would become hallmarks of his mature oeuvre.

    The Development of a Unique Style

    Freud’s artistic evolution can be traced through several key stages. Initially influenced by Surrealism, he moved towards Expressionism, capturing raw emotion and distorted forms. Yet, it was in the early 1950s that he forged his own distinctive style – one characterized by an almost brutal honesty and a willingness to confront uncomfortable truths about human nature. He abandoned idealized representations, opting instead for unflinching portrayals of his subjects’ physicality, often revealing their vulnerabilities and imperfections.

    A crucial element of Freud's technique was his reliance on direct observation and extended sittings with his models. He famously demanded hours-long sessions, sometimes lasting days, patiently waiting for the precise moment when a subject would reveal themselves – a flicker of emotion, a subtle shift in expression. This process wasn’t merely about capturing likeness; it was about penetrating the surface and accessing the inner world of the individual. His studio became a space of intense psychological engagement, where the artist and model existed in a state of almost symbiotic relationship.

    Freud's use of paint was equally significant. He applied thick layers of impasto, building up texture and volume to create a palpable sense of presence. The surfaces of his paintings are often rough and uneven, reflecting the physicality of his subjects and conveying a feeling of immediacy and urgency. The dark, muted palette – dominated by browns, greys, and blacks – further contributes to the somber and introspective mood of his work.

    Major Works and Influences

    Throughout his prolific career, Freud produced a vast body of paintings, drawings, and prints. Some of his most celebrated works include “Benefits Supervisor Sleeping” (1995), a monumental portrait of the dancer and performer Alison Hedley; "The Bear" (1964), a powerfully evocative depiction of his dachshund, Pablo; and numerous portraits of friends and family members, including David Hockney, Rosalinde Franklin, and Clement Freud. These works demonstrate his ability to capture not just physical likeness but also the essence of his subjects’ personalities.

    Freud's work has been influenced by a diverse range of sources, from Rembrandt and Velázquez – masters of psychological portraiture – to the German Expressionists and the British School of London. However, he ultimately forged his own unique path, rejecting conventional notions of beauty and embracing a more honest and challenging approach to representation.

    Legacy and Historical Significance

    Lucian Freud’s impact on contemporary art is undeniable. He challenged traditional conventions of portraiture, pushing the boundaries of what was considered acceptable subject matter and technique. His unflinching honesty and psychological depth have resonated with artists and viewers alike, establishing him as one of the most important figures in British art since World War II.

    Despite facing criticism for his sometimes unsettling depictions of his subjects, Freud’s work continues to be exhibited widely and studied extensively. He remains a vital voice in the ongoing conversation about representation, identity, and the complexities of human experience. His legacy lies not only in the beauty of his paintings but also in their profound ability to provoke thought and emotion.

    Muzej

    Museo de Arte de Lima

    Na razstavi v Lima, Peru

    Palac perujevskih zgodb: Razkritje Museo de Arte de Lima

    Uvod:

    Museo de Arte de Lima (MALI) presega svojo vlogo zgolj kot skladišče umetnosti; gre za poglobljeno izkušnjo v večplastno dediščino Peruja, ki se razteza skozi tisočletja. Smješčena v opulentni Palacio de la Exposición – sam v sebe arhitekturno dovršeno stvar zmedavo stilov – MALI આમ vika obiskovalce na pot skozi predkolumbijsko umetnost, kolonialne vlive in sodobne izrazi.

    Odmevi starodavnih civilizacij:

    Osrednja zbirka muzeja se začne z osupljivim panoramskim pogledom na perujsko pretoриjo. Občudujte zapleteno keramiko, ki so jo izdelale kulture, kot so Mochica, Nazca in Inca – ne le kot artefakte, temveč kot eloquentne predstavitve njihove vere in vsakdana. Posebej očarljive so erotične keramične plastične figure, ki ponujajo neprecenljiv vpogled v starodavno perujsko kozmologijo in seksualnost. Raziskujte živahne tekstilije, okrasjene s simbolnimi motivi, ki pripovedujejo zgodbe o moči in družbeni strukturi.

    Združevanje svetov: Kolonialna umetnost

    Prihod španskih osvajalcev je nepopravljivo spremenil umetniško pokrajavo Peruja, kar je živopisno dokumentirano v zbirkah kolonialne umetnosti MALI. Prepričajte se harmonije med evropskimi umetnostnimi tradicijami in avtohtonimi tehnikami – religiozne slike, prepojene z perujsko občutljivostjo, prikazujejo svetnike ob spremljanju andskih pejzažev. Barokna veličastnost, ublažena s južnoameriško estetiko, ustvarja vizualni dialog, ki odraža osvajanje in kulturno sintezo.

    Sodobne vizije in zaveza k ohranjanju:

    Poleg svojih zgodovinskih zakladov MALI zastopa sodobno perujsko umetnost, s ponosom vsebujočo več kot 1.000 del, ki čakajo na širši izpostavljeni prostor. Odkrijte raznolike sloge, od abstraktnega ekspresionizma do družbenega komentarja, ki zrcalijo razvijajoče se kulturno identiteto Peruja. Poleg tega služba knjižnica Manuel Solari Swayne kot vrhunski vir umetnosti v Peruju, medtem ko digitalni arhiv ARCHI demokratizira znanje z zagotavljanjem brezplačnega dostopa do celovite zbirke perujske umetnosti in arhitekture.

    Izpostavljene izložbe in edinstveni vidiki:

    Znednjejšnje izložbe so predstavljale umetnike, kot je Santiago Yahuarcani, ter raziskovale teme indigenizma znotraj osupljive arhitekturne ladje palače v Barrancu v Limi. Trgovina Museo LiMAC ponuja skrbno izbrane spominske predmete, ki odražajo umetniškega duha MALI. Ne zamudite priložnosti za raziskovanje del umetnikov, kot so Venancio Shinki Huamán, Julia Manuela Codesido Estenós in Juan Javier Salazar – umetnikov, ki utelovljajo umetno dediščino Peruja.

    Preberite več

    Preverite na spletu

    QR koda za dostop do strani za prenos Katatay (To Tremble)

    wahooart.com/sl/art/download/alfredo-chavez-marquez-katatay-to-tremble-D4PHT7-en/

    Navodila za citiranje umetniškega dela

    MLA
    marquez, alfredo chavez. Katatay (To Tremble). 2003, Museo de Arte de Lima. https://wahooart.com/sl/art/alfredo-chavez-marquez-katatay-to-tremble-D4PHT7-en/
    APA
    marquez, alfredo chavez (2003). Katatay (To Tremble) [Painting]. Museo de Arte de Lima. https://wahooart.com/sl/art/alfredo-chavez-marquez-katatay-to-tremble-D4PHT7-en/
    Chicago
    alfredo chavez marquez. Katatay (To Tremble). 2003. Museo de Arte de Lima. https://wahooart.com/sl/art/alfredo-chavez-marquez-katatay-to-tremble-D4PHT7-en/
    Harvard
    marquez, alfredo chavez (2003) Katatay (To Tremble). Museo de Arte de Lima. Available at: https://wahooart.com/sl/art/alfredo-chavez-marquez-katatay-to-tremble-D4PHT7-en/

    Poglejte bližje

    Katatay (To Tremble) — alfredo chavez marquez

    Poglejte rafinirano

    Odgovorite z lastnimi besedami. Tukaj ni napačnih odgovorov — so le odgovori, ki jih lahko razložite.

    1. Kaj vas najprej pritegne in zakaj?
    2. Katere barve ali oblike ustvarjajo vzdušje — in kakšno je to vzdušje?
    3. alfredo chavez marquez je bil star približno 81, ko je bilo to delo ustvarjeno. Kaj v njem opazite kot delo umetnika v tem obdobju?
    4. Kaj je imel avtor morda v mislih, ko je želel, da bi občutil?
    5. Če bi lahko umetniku zastavili le eno vprašanje o tem delu, katero bi to bilo?

    Vaš odgovor

    Zapišite kratek odstavek o tem umetniškem delu. Uporabite dejstva iz prejšnjih delov tega priročnika in svoje odgovore zgoraj.