艺术品展示 / 油画
《形影不离》(Inseparables)

名家名作

《形影不离(Inseparables)》
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画作名称:
Inseparables
中文名称:
形影不离
画 家:
弗洛伦斯·富勒(Florence Fuller)
作品年份:
c.1900 年
原作材质:
布面油画
画作尺寸:
90.2 x 68.5 cm
馆藏链接:
南澳美术馆(Art Gallery of South Australia - AGSA)
备注信息:
 

《Inseparables》:
oil on canvas painting of a young woman in late Victorian dress, sitting in a chair by a fireplace, reading a book

 

   While in Europe, Fuller painted Inseparables, which portrays the figure of a girl sitting reading a book. It was acquired by the Art Gallery of South Australia. When hanging the work as part of its exhibition The Edwardians, the National Gallery of Australia described the painting as one suggesting a love of reading. In contrast, art historian Catherine Speck regarded the work as "subversive" because of its portrayal of a young woman "gaining knowledge". In November 1902, the Australian Federal International Exhibition was held. It was opened by the Governor of Victoria Sir George Clarke, who spoke of its goal to advance "the industrial progress of Australia". The event occupied the entire Royal Exhibition Building in Melbourne, and was dominated by an exhibition of art, both Australian and international. Included in this extensive survey of painting were six works by Fuller.

 

       In 1892, Fuller travelled to the Cape of Good Hope "to convalesce", although from what illness or injury, her biographer Joan Kerr does not say. Two years later, she travelled on to England and France, where she remained for a decade. In the 1890s, Australian artists studying abroad favoured Paris over London, and Fuller was no exception. Fuller studied first at the Académie Julian, where her teachers included William-Adolphe Bouguereau, and later, Raphaël Collin, one of whose studios she managed for a time. Many of the French art schools had only recently opened their doors to women, and those at Académie Julian experienced poor, overcrowded conditions and contempt from the (mostly male) teachers. Despite this, Fuller's skills developed, and contemporary critics commented favourably on the influence of the French training.

       During her time in Europe, Fuller had great success. After a pastel portrait of hers was accepted for the Paris Salon in 1895, two of her paintings were shown there in 1896. That was followed by another, La Glaneuse, in 1897, in which year she also had a work accepted by the Royal Academy in London. She exhibited in many other locations: the Royal Institute of Oil Painters and Manchester Art Gallery in England, as well as the Victorian Artists Society and the New South Wales Society of Artists, and at the Melbourne studio of Jane Sutherland. There was even a painting, Landscape, hung in the exhibition for the fiftieth anniversary of the founding of Bendigo. Not all her time was spent in Europe, however; in 1899 she returned to South Africa to paint Cecil Rhodes. One source suggests that she ultimately prepared five portraits of the founder of Rhodesia. A later newspaper report stated that Fuller also travelled and made sketches in Wales, Ireland, and Italy.

     

    百度翻译:http://fanyi.baidul.com 

 

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