纸张尺寸

学生作品指南

Or

姓名 班级 日期

Pat Steir, Or (1973). 仅供参考;版权归权利持有人所有。 在流动的光影下观察这幅画布:线条的笔触、清漆下的真实色彩、以及纯粹的颜料质感

详情介绍

艺术家
Pat Steir wahooart.com/zh/artists/pat-steir/
艺术家生卒年份
1940 –
绘画
1973
原尺寸
183 x 488 cm

语境中

Or — Pat Steir

尺寸规格

原件尺寸为 183 × 488 厘米(高 × 宽),此处将其与一名平均身高的成年人并列展示。 由于尺寸过大,无法在此页面内按比例绘制。

创作年份

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990

上方行:年份。下方行:艺术家在每个时间段开始及结束时的年龄(出生为0岁)。

创作于艺术家 33 岁时。 1 在我们目录中该艺术家的 9 件有明确日期的作品中,早于此件的作品。

▲ 此作,1973 每一幅带有日期的画作,按年代编排

早期作品:至 1982 主要执业年份:1982–1997 晚期作品:始于 1997

这三段时期将本目录中记录的作品划分为第一季度、中期及最后季度。这些时期并非艺术家的全部创作:某些时期的作品稀少,可能源于记录的缺失,而非创作的停滞。 岁月流转,与艺术家的生命轨迹交相辉映

同类作品对比

从上方作品中任选其一:列出它与此件作品的两个共同点,以及一个不同点。

更多与此作品相媲美的佳作:wahooart.com/zh/art/similar/pat-steir-or-D38TRP-en/

色彩

基于图像测量

    主色调

    Rosy Brown #b8ac9e

    已收录色板

    • #B8AC9E
    • #272426
    • #706A67
    • #E0D8D3

    这些色彩尽在艺术家的完整调色盘之中 按颜色查找其他画作

    配色方案
    Neutrals 图像中的主导色系。
    主色调
    Rosy Brown
    饱和度
    Monochromatic 色彩的饱和度与多样性,涵盖了从单一柔和色调到多种明亮色彩的范围。
    对比度
    Statement 画面中色彩在明度与饱和度上的差异程度。
    和谐
    Softly Mixed Palette 色彩之间的协调程度,从冲突到完全统一。
    亮度
    Balanced 画面整体的明暗程度,涵盖了从深邃阴影到明亮高光的变化。
    饱和度
    Muted 色彩纯净且富有张力,从近乎灰调到极尽鲜艳。

    这幅画作在全球哪些地方被观赏?

    • 占比低于 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% 及以上
    仅凭这幅画作的记录访客数尚不足以绘制地图,因此该图表展示了过去十二个月内 Pat Steir 的每一件作品 —— 总计涵盖 2 个国家。 这些数据来源说明

    十大领先国家

    1. 1 中国 83.3%
    2. 2 美国 16.7%

    在地图上找出颜色最深的三个国家。收藏这幅画作的博物馆是否位于其中之一?请写下一个让远方的人们想要观赏它的理由。

    Pat Steir 最受关注的 6 件作品

    1. 1 Sixteen Waterfalls of Dreams, Memories, and Sentiment, 1990 33.3%
    2. 2 Waterfall, 1988 16.7%
    3. 3 Gold Morning with Roses, 1999 16.7%
    4. 4 Looking for the Mountain, 1971 16.7%
    5. 5 After Winslow Homer I, 1997 16.7%
    6. — Or, 1973 此幅画作 0.0%

    这些作品共同占据了该艺术家画作在过去十二个月中所获关注度的 100.0%。该目录收录了 12 件该艺术家的作品,其中 5 件曾被至少浏览过一次。 此画作在此期间尚无浏览记录 —— 因此在列表中不显示排名。 逐月统计数据保持一致

    条形图衡量的是关注度,而非品质。请选择排在首位的作品以及这一件:列举一件除了绘画技巧之外,可能使一幅画作闻名遐迩的因素。

    艺术家与博物馆

    艺术家

    Pat Steir

    Pat Steir: A Cartographer of Chance and Emotion

    Pat Steir, born Iris Patricia Sukoneck in Newark, New Jersey, in 1940, is an American painter and printmaker whose work has profoundly shaped the landscape of contemporary art. Her journey from early conceptual influences to her now-iconic “Waterfall” paintings—dynamic explorations of gravity, gesture, and chance—is a testament to her relentless curiosity and profound engagement with both artistic tradition and the unpredictable nature of creative process. Steir’s career, spanning over five decades, is marked by a consistent refusal to adhere to conventional boundaries, forging a unique visual language deeply rooted in Eastern philosophy and a fascination with the interplay between control and abandon.

    Early Life and Artistic Foundations

    Steir's artistic trajectory began at Pratt Institute in New York City during the late 1950s, where she was initially influenced by the teachings of Richard Lindner and Phillip Guston—figures whose diverse approaches to painting provided a crucial foundation for her own explorations. Returning to Pratt in 1962, she graduated with a BFA and quickly established herself within the burgeoning New York art scene. Early exhibitions at the High Museum of Art in Atlanta and the Museum of Modern Art in New York demonstrated her emerging talent, showcasing a willingness to challenge existing artistic norms. This period also saw Steir working as an illustrator and book designer, experiences that honed her observational skills and deepened her understanding of visual communication—qualities she would later translate into her groundbreaking paintings. Crucially, her time at Pratt exposed her to the burgeoning conceptual art movement, fostering a critical awareness of the role of ideas within artistic practice.

    The Emergence of the “Waterfall” Series

    Steir’s career truly took flight in the late 1970s and early 1980s with the creation of her now-famous “Waterfall” paintings. These monumental works, characterized by cascading torrents of thick, white paint layered over rich black surfaces, represent a radical departure from traditional painting techniques. Influenced by her growing interest in Eastern philosophy—particularly Taoism and Buddhism—Steir embraced the concept of wu wei (non-action), allowing gravity and chance to dictate the flow of paint across the canvas. She began experimenting with pouring, splashing, and throwing paint, relinquishing conscious control over the process and inviting the inherent unpredictability of the medium to shape the final image. As Steir herself described, these paintings were not about depicting a waterfall but rather “painting out of the painting and into space,” creating immersive environments that evoked the sublime forces of nature. The series’ genesis was also informed by her studies of Chinese ink-splashing techniques, where artists sought to capture the essence of natural phenomena through spontaneous gestures.

    Expanding Horizons: Site-Specific Installations and Printmaking

    Building upon the success of the “Waterfall” series, Steir expanded her artistic practice into immersive installations in the mid-1980s. These site-specific works transformed gallery spaces into dynamic environments, blurring the boundaries between painting, sculpture, and performance. Steir’s approach to these installations mirrored her painting process—embracing chance and allowing the architecture of the space to influence the composition and flow of paint. Simultaneously, she continued to develop her printmaking skills, producing a series of limited-edition prints that explored similar themes of control, chaos, and the relationship between artist and material. Her collaborations with Crown Point Press resulted in critically acclaimed works that further solidified her reputation as a pioneering figure in contemporary art.

    Legacy and Influence

    Pat Steir’s influence extends far beyond her own body of work. Her willingness to embrace chance, her deep engagement with Eastern philosophy, and her innovative use of materials have inspired generations of artists. Her work has been exhibited extensively at major museums around the world, including the Tate Gallery in London, the Brooklyn Museum, and the Metropolitan Museum of Art in New York. Steir’s paintings are now held in significant collections across the United States and abroad, a testament to her enduring artistic vision. Her legacy lies not only in the beauty and complexity of her art but also in her courageous exploration of the creative process—a constant reminder that true artistry emerges from the delicate balance between intention and surrender. She remains a vital voice in contemporary art, continuing to push boundaries and challenge conventional notions of painting and sculpture.

    更多阅读资讯

    在线获取详情

    链接至 Or 下载页面的二维码

    wahooart.com/zh/art/download/pat-steir-or-D38TRP-en/

    引用此作品

    MLA
    Steir, Pat. Or. 1973, https://wahooart.com/zh/art/pat-steir-or-D38TRP-en/
    APA
    Steir, Pat (1973). Or [Painting]. https://wahooart.com/zh/art/pat-steir-or-D38TRP-en/
    Chicago
    Pat Steir. Or. 1973. https://wahooart.com/zh/art/pat-steir-or-D38TRP-en/
    Harvard
    Steir, Pat (1973) Or. Available at: https://wahooart.com/zh/art/pat-steir-or-D38TRP-en/

    细致观察

    Or — Pat Steir

    近距离观察

    请用自己的话来回答。这里没有标准答案——只有你能解释清楚的答案。

    1. 首先吸引你目光的是什么?为什么?
    2. 哪些色彩或形状营造了这种氛围——而这种氛围又是怎样的呢?
    3. 回想一下本指南前文提到的 After Winslow Homer I (1997)。请指出它与此件作品共有之处的两点,以及不同之处的一点。
    4. Pat Steir 在创作此作时大约 33 岁。作品中的哪些细节体现了艺术家这一阶段的创作特征?
    5. 艺术家或许想让你感受到什么?

    您的回复

    请围绕这件艺术品撰写一段简短的介绍。内容请结合本指南前文所述的事实以及您在上方提供的答案。

    问答详情

    Pat Steir 的《Or》 的比例如何,尺寸是多少?

    Pat Steir 的《Or》 是一幅尺寸为 183 x 488 cm 的 Panoramic 作品。

    Pat Steir 的《Or》 的对比度如何?

    "Or" 的明暗对比度记录为 Statement。对比度描述了明亮区域与阴影区域之间的差异强度。

    如何描述 Pat Steir 的《Or》 的色调?

    Pat Steir 的《Or》 采用了 Neutrals 色调。这一色调概括了作品整体的色彩特征。