語音導賞資料庫
隨時隨地探索語音導賞資料庫，收聽策展人、創作人及受邀嘉賓的介紹，或了解相關作品或建築在視覺上的特徵。
建築導賞
口述影像
草間彌生：一九四五年至今
8093 (英語)
8093 (English)
1:45
山羊頭顱、瓶子和蠟燭
Angela Liu:
Let your eyes wander across this intriguing combination of objects: a goat’s skull, a bottle, and a candle. Two are everyday items, yet they are joined by a grim, morbid companion. Even more intriguing, Picasso made two versions of this theme—once as a painting, and once as a sculpture, both seen here. What is so compelling about this image that drew Picasso to it again and again?
Picasso began working on the sculpture in 1951, and he made the painting in 1952. He then completed the sculpture in 1953. Why did he jump back and forth? Picasso once said, ‘Sculpture is the best comment that a painter can make on painting.’ Like he is performing a magic trick, Picasso manages to pull his ideas about shapes and perspectives from the two-dimensional painting into the real world.
Let’s start with this painting. Notice how the round vase is emphasised by the angular lines at the top. As you look down, the vase appears almost three-dimensional, as if it’s carved from a block.
Now let’s look at the sculpture. Even though it’s now an object in real space, the vase seems much flatter than in the painting. You can imagine how Picasso delighted in transforming our perception of reality through both works—conjuring a voluminous body in a painting while he flattens out real objects. And that’s not his only playful trick. Take a look at the horns in the sculpture. These are actually the handlebars of a bicycle!
本網站使用「Cookies」為你提供最好的網站體驗。
了解更多載入中