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Statements

Subject Item
dbr:Hope_(Watts)
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Hope (peinture) 希望 (油畫) أمل (لوحة) Hope (Watts)
rdfs:comment
Hope (« Espoir » ou « Espérance ») est une peinture à l'huile réalisée par le peintre anglais George Frederic Watts. Ce dernier a achevé les deux premières versions de l'œuvre en 1886. 《希望》（英語：Hope）是英國畫家乔治·弗雷德里克·瓦茨的象徵主義油畫，並於1886年完成前兩個版本。與之前的主題探討截然不同，油畫展示了一名蒙著眼睛的孤獨女性坐在球狀物上，並彈奏只剩下一根弦的里拉琴。背景幾乎空白，其唯一可見的特點就只有一顆星星。沃茨故意使用象徵主義，而不是用與希望有關聯的傳統類型，使這副畫的含義變得含糊不清。雖然他在《希望》使用的顔色受到極大的讚賞，但在展出期間，許多評論家并不喜歡這副畫。《希望》在美學運動受到歡迎，該運動因認爲美才是藝術的主要目的，所以並不在乎其信息的含糊之處。 雖然沃茨收到許多主動購買畫作的提議，但他同意將其最重要的作品捐贈給國家，並認爲不包括《希望》並不合適。因此於1886年晚期，沃茨與助理塞西爾·斯科特畫了第二個版本。完成後，沃茨賣了原作並將副本捐贈給南肯辛頓博物館（現名爲維多利亞與艾伯特博物館）；因此，第二個版本比原作更廣爲人知。他之後至少畫了兩個版本作私人出售。 由於《希望》的廉價複製品及1908年的高質畫作而開始大量流通，它成爲一種廣受歡迎的形象。美國總統西奥多·罗斯福在他紐約薩加莫爾山的家掛著此畫的副本；複製品流通至全球；而一部於1922年上映的電影描述沃茨的畫作創作以及背後的設想故事。《希望》已經似乎變得過時和過於傷感，而沃茨也迅速脫離時尚。1938年，泰特美術館中止保留他們收藏作爲永久展出的沃茨作品。 Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and lat أمل هي رسم زيتي تتبع المدرسة الرمزية للرسام الإنجليزي جورج فريدريك واتس، أنجزت نسختان من هذه اللوحة عام 1886. تختلف هذه اللوحة في الموضوع عن ما سبق، إذ تُظهر امرأة معصوبة العينين تجلس وحيدة على الكرة الأرضية، وتلعب بقيثارة ليس فيها سوى خيط واحد متبقٍ. الخلفية فارغة تقريباً، والشيء الوحيد الواضح هو نجم واحد. استخدم واتس الرمزية وليس التقليدية للدلالة على الأمل عامداً وذلك لإبقاء معنى اللوحة غامضاً. في حين أن أسلوبه في استخدام الألوان كان مثيراً للإعجاب إلى حدٍ كبير، لكن في الوقت نفسه، لم تعجب اللوحة العديد من النقّاد عندما عُرضت. أثبتت لوحة «الأمل» شعبية الحركة الجمالية والتي تعتبر الجمال الغرض الأساسي للفن والتي لم تكترث لغموض رسالتها. ظهرت نسخ رخيصة من اللوحة وسرعان ما بدأ بيعها.على الرغم من تلقّي واتس العديد من العروض لشراء اللوحة، وافق على التبرع بأهم أعماله للأمة، وشعر أنه سيكون من غير
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blindfolded girl sitting on a giant orange Woman with her face hidden, sitting on a globe Blindfolded Hope sitting on a globe blindfolded girl surrounded by a rainbow, sitting on a giant orange blindfolded girl sitting on a giant orange, with a star above her Woman in a prison cell carrying a flowering rod
dbp:artist
dbr:George_Frederic_Watts
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First version Luna Second version Oil sketch, 1885 'Rainbow' version Second version of Hope, 1886 Hope
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The composition of Watts's Hope was strongly influenced by Burne-Jones's Luna. At the time Watts began work on Hope, Burne-Jones had recently completed a popular treatment of the same topic. Watts preferred his second version of Hope, which was painted in softer tones. This version was given to the English nation on its completion and exhibited worldwide, becoming the best-known version of the image.
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Luna - Edward Burne-Jones .jpg Edward Burne-Jones Hope .jpg Watts – Hope .jpg Assistants and George Frederic Watts - Hope - Google Art Project.jpg George Frederic Watts, 1885, Hope.jpg
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Barack Obama, The Audacity of Hope, 2006 Jeremiah Wright, 1990, as quoted by Barack Obama, 1995 George Frederic Watts in a letter to his friend Madeline Wyndham, December 1885 Frederic George Stephens on seeing Hope in Watts's studio, 1886 Satirical magazine Fun on the exhibition of Hope, 1886
dbp:text
Hope sitting on a globe, with bandaged eyes playing on a lyre which has all the strings broken but one out of which poor little tinkle she is trying to get all the music possible, listening with all her might to the little sound—do you like the idea? The painting depicts a harpist, a woman who at first glance appears to be sitting atop a great mountain. Until you take a closer look and see that the woman is bruised and bloodied, dressed in tattered rags, the harp reduced to a single frayed string. Your eye is then drawn down to the scene below, down to the valley below, where everywhere are the ravages of famine, the drumbeat of war, a world groaning under strife and deprivation. It is this world, a world where cruise ships throw away more food in a day than most residents of Port-au-Prince see in a year, where white folks' greed runs a world in need, apartheid in one hemisphere, apathy in another hemisphere ... That's the world! On which hope sits! [...] And yet consider once again the painting before us. Hope! Like Hannah, that harpist is looking upwards, a few faint tones floating upwards towards the heavens. She dares to hope ... she has the audacity ... to make music ... and praise God ... on the one string ... she has left! Deary! a young woman tying herself into a knot and trying to perform the chair-trick. She is balanced on a pantomime Dutch cheese, which is floating in stage muslin of uncertain age and colour. The girl would be none the worse for a warm bath. Hope's dress is of a dark aërial hue, and her figure is revealed to us by a wan light from the front and the paler light of stars in the sky beyone. This exquisite illumination fuses, so to say, the colours, substance and even the forms and contours of the whole, and suggests a vague, dreamlike magic, the charm of which assorts with the subject, and, as in all great art, imparts grace to the expression of the theme. It wasn't just the struggles of these men and women that had moved me. Rather, it was their determination, their self-reliance, a relentless optimism in the face of hardship. It brought to mind a phrase that my pastor, Rev. Jeremiah A. Wright Jr.' had once used in a sermon. The audacity of hope ... It was that audacity, I thought, that joined us as one people. It was that pervasive spirit of hope that tied my own family's story to the larger American story, and my own story to those of the voters I sought to represent.
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Hope
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300 279 536 1738 468 734
dbp:year
, further versions 1886–1895
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Hope (« Espoir » ou « Espérance ») est une peinture à l'huile réalisée par le peintre anglais George Frederic Watts. Ce dernier a achevé les deux premières versions de l'œuvre en 1886. Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold. Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale. As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display. Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope". أمل هي رسم زيتي تتبع المدرسة الرمزية للرسام الإنجليزي جورج فريدريك واتس، أنجزت نسختان من هذه اللوحة عام 1886. تختلف هذه اللوحة في الموضوع عن ما سبق، إذ تُظهر امرأة معصوبة العينين تجلس وحيدة على الكرة الأرضية، وتلعب بقيثارة ليس فيها سوى خيط واحد متبقٍ. الخلفية فارغة تقريباً، والشيء الوحيد الواضح هو نجم واحد. استخدم واتس الرمزية وليس التقليدية للدلالة على الأمل عامداً وذلك لإبقاء معنى اللوحة غامضاً. في حين أن أسلوبه في استخدام الألوان كان مثيراً للإعجاب إلى حدٍ كبير، لكن في الوقت نفسه، لم تعجب اللوحة العديد من النقّاد عندما عُرضت. أثبتت لوحة «الأمل» شعبية الحركة الجمالية والتي تعتبر الجمال الغرض الأساسي للفن والتي لم تكترث لغموض رسالتها. ظهرت نسخ رخيصة من اللوحة وسرعان ما بدأ بيعها.على الرغم من تلقّي واتس العديد من العروض لشراء اللوحة، وافق على التبرع بأهم أعماله للأمة، وشعر أنه سيكون من غير الملائم أن تكون لوحة الأمل من ضمن التبرعات. نتيجة لذلك، وفي وقت لاحق، قام واتس ومساعدته سيسل شوت برسم نسخة ثانية عام 1886. باع واتس اللوحة الأصلية وتبرع بالنسخة لمتحف فكتوريا وألبرت، لذا فإن اللوحة المنسوخة أكثر شهرة من اللوحة الأصلية. كما رسم نسختين اثنتين على الأقل من اللوحة لبيعها لبعض الخاصة.بعد أن تم إعادة إنتاج نُسّخ رخيصة من لوحة «الأمل»، وبظهور الطباعة عالية الجودة بعد 1908، بدأ ظهور كميات كبيرة من اللوحة، أصبحت اللوحة شهيرة على نطاقٍ واسع.عرض الرئيس ثيودور روزفلت نسخة في منزل في نيويورك؛ وقد بيّن فيلم صوّر عام 1922 واتس وهو يُنتج اللوحة وتخيّل قصة لها. بحلول ذلك الوقت، أصبحت اللوحة تبدو قديمة ووجدانية. 《希望》（英語：Hope）是英國畫家乔治·弗雷德里克·瓦茨的象徵主義油畫，並於1886年完成前兩個版本。與之前的主題探討截然不同，油畫展示了一名蒙著眼睛的孤獨女性坐在球狀物上，並彈奏只剩下一根弦的里拉琴。背景幾乎空白，其唯一可見的特點就只有一顆星星。沃茨故意使用象徵主義，而不是用與希望有關聯的傳統類型，使這副畫的含義變得含糊不清。雖然他在《希望》使用的顔色受到極大的讚賞，但在展出期間，許多評論家并不喜歡這副畫。《希望》在美學運動受到歡迎，該運動因認爲美才是藝術的主要目的，所以並不在乎其信息的含糊之處。 雖然沃茨收到許多主動購買畫作的提議，但他同意將其最重要的作品捐贈給國家，並認爲不包括《希望》並不合適。因此於1886年晚期，沃茨與助理塞西爾·斯科特畫了第二個版本。完成後，沃茨賣了原作並將副本捐贈給南肯辛頓博物館（現名爲維多利亞與艾伯特博物館）；因此，第二個版本比原作更廣爲人知。他之後至少畫了兩個版本作私人出售。 由於《希望》的廉價複製品及1908年的高質畫作而開始大量流通，它成爲一種廣受歡迎的形象。美國總統西奥多·罗斯福在他紐約薩加莫爾山的家掛著此畫的副本；複製品流通至全球；而一部於1922年上映的電影描述沃茨的畫作創作以及背後的設想故事。《希望》已經似乎變得過時和過於傷感，而沃茨也迅速脫離時尚。1938年，泰特美術館中止保留他們收藏作爲永久展出的沃茨作品。 儘管沃茨的人氣有所下降，《希望》仍然充滿影響力。馬丁·路德·金恩在1959年現名爲《破碎的夢》，以及1990年在芝加哥關於繪畫的佈道均以其爲基底。在後者的會衆中，年輕的贝拉克·奥巴马深受感動。奧巴馬以「無畏的希望」作爲的主題，以及他2006年書籍的標題。他在其成功的2008年總統競選中以圍繞「希望」的主題爲基底。
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wikipedia-en:Hope_(Watts)?oldid=1080529923&ns=0
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dbr:George_Frederic_Watts
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wikipedia-en:Hope_(Watts)