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板凳
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发表于 2021-1-19 19:51:01
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【人文科学-艺术】
Shades of black：For centuries, the colour black has tested artists’ ingenuity
(The Economist - 1194 字 长阅读）
Claude monet died in darkest December in 1926 surrounded by the garden he had created at Giverny. When Georges Clémenceau, the former French prime minister, arrived three days later for the artist’s funeral and caught sight of the black-draped coffin, he exclaimed: “No! No black for Monet.” An old piece of cretonne was brought down from the house to replace the dark pall with the palette that the artist had made his own: nature’s many greens, lavender, water lilies and forget-me-nots.
Most colours represent different things for different people. The hue of death in India and in some Slavic cultures is white, yet white also means spiritual rebirth for Muslims participating in the haj. Green was for bankers in early modern Europe; in the Kenyan flag it represents the land. Red is the badge of loyalty and success in China and of power and devotion in Russia. In Nathaniel Hawthorne’s New England it was the sign of adultery. Black, however, has associations that are universal. It is bound up with witchcraft, the underworld, night-time and the far side of the Moon.
Physicists say it is not really a colour at all. Because black is the result of the absence of light, Sir Isaac Newton did not see it on the spectrum of colours in his experiments with prisms in the late 1660s. Many artists take a different view. For them black represents an intellectual and technical challenge; it is the high-jump of colour, a test of their skill, ingenuity and imagination. (Black skin has its own, entwined but distinct, artistic history, with vexed connotations of power, prejudice and eroticism.)
The latest attempt to plumb these depths comes from Anish Kapoor, a British-Indian artist whose work questions notions of perception. He has co-opted a revolutionary black material which, he hopes, will break completely new ground. “I’m really invested in the process of what is real and what is not real,” Mr Kapoor says. “What is an appearance? What’s a trick? What’s an illusion?”
The discovery in ancient Egypt, China and Rome that writing (and, later, printing) worked best when black was used on a white background gives black a special place in the pantheon of colours. But before the concoction in Europe of black ink from gall nuts (tumours that grow on trees where insects have laid eggs), real black was hard to conjure up. The early artists in France’s Lascaux caves drew crude animals and human figures with charcoal, which sometimes washed away. Most confected blacks, especially fabric dyes, produced a muddy purply-grey or brown at best.
No colours any more
It was only when black pigments—made from coal, lampblack or even burned ivory—were successfully mixed with gum arabic or linseed oil that it became possible to create the black gloss that many European artists came to love. Caravaggio revolutionised Baroque painting with his studies of darkness; yet it was the Spaniards of a generation later, when black was the colour of high fashion, who made black painting all their own, starting with the power portraits of Diego Velázquez and the brooding figures that haunt the tall works of Francisco de Zurbarán. “Black became the colour of distinction,” Philip Ball, the author of “Bright Earth: Art and the Invention of Colour”, has said. It wasn’t only a hue in its own right, artists realised, but an enlivener of other colours.
The myth of Orpheus, who descends into the blackness of the underworld to bring his dead wife, Eurydice, back to the land of the living, has inspired musicians, poets and painters. None more so, perhaps, than Samuel Palmer. Retreating from the problems associated with the Industrial Revolution, in the 1820s Palmer went with a band of like-minded spirits to live in the Kent countryside where he witnessed nights that were blacker than anything he had ever seen. The series of works inspired by his nocturnal ramblings represented something of an epiphany for Palmer. He called them “my blacks” or “little moonshines”, for the intensity they project is due almost entirely to the blackness of his night sky, as can be seen, for example, in a tiny picture called “Cornfield by Moonlight, with the Evening Star”.
Unlike Palmer and other Romantics, Monet and some of his fellow Impressionists banished black entirely. Édouard Manet, however, took it on. When he painted his disciple and future sister-in-law, Berthe Morisot, in 1872, he dressed her all in black with a matching hat. With one side of her face lit up gloriously and the other darkly shaded, it is her eyes that capture the viewer’s attention; in life they were green, bu Manet made them profound by painting them black. “Manet was the strongest of us all,” his friend, Camille Pissarro, once said. “He turned black into light.”
Until my darkness goes
In the 20th century, Pablo Picasso used black to ask how God could possibly exist amid so much suffering. “Guernica”, his visual poem in black-and-white about the Spanish civil war, recalls the use of black in Francisco Goya’s prints, “The Disasters of War”. Perhaps the shade’s most ambitious devotee was Kazimir Malevich, a Russian artist who enlisted black to invent a whole new painterly language that elevated feelings over representation. He called this movement “suprematism”.
“Trying desperately to free art from the dead weight of the real world,” he later wrote, “I took refuge in the form of the square.” Malevich painted many squares of different colours, but “Black Square” (see picture) is the one people remember. Unveiled against the backdrop of the first world war and turmoil in Russia, Malevich’s “Black Square” marked a turning-point in modern art.
Malevich was a huge influence on his successors, especially the American abstract expressionists, but time has not been kind to “Black Square”, at least not physically. These days it is shrunken, cracked and slightly miscoloured. All the same, the challenge that it represented to artists is as powerful as ever.
It was exactly a century after “Black Square”, in 2015, that Mr Kapoor secured the rights to make art using Vantablack, the blackest black ever created. It is not a paint so much as a dense coating of tiny “nanotubes”—“Vanta” stands for “vertically aligned nanotube array”—which, instead of reflecting light, traps it almost completely. (It was developed as a material that might be useful in hiding satellites.) In a recent display in his studio, Mr Kapoor’s artworks seemed to have no shape or contours. A circle of Vantablack on the floor could be a rug-like coating or a bottomless hole; a bowl shape could be convex or concave. There was no way of telling.
During the Renaissance, artists saw that paint could be used to portray objects in three dimensions. Vantablack seems to remove the object altogether. Speaking to Artforum, a magazine, Mr Kapoor once said: “Imagine walking into a room where you literally have no sense of the walls—where the walls are or that there are any walls at all. It’s not an empty dark room, but a space full of darkness.” For the viewer, as for the artist, these works are another step in the quest for the meaning of black.
Source: The Economist
读 15min，总结13min44s
主旨：历史上艺术家对黑色的运用与创造
结构：
引入：example-莫奈的创作排除黑色-艺术大成者对黑色的态度之一
黑色的含义：
• 探讨颜色的含义-对不同人有不同的含义
• 进而讨论黑色的意义：物理学家和艺术家的对黑色的解读
• 举例：B-I艺术家对黑色艺术解读尝试
黑色艺术历史上的发展：
• 黑色作为颜料的发展和运用（引出了下面一大段）
• 黑色颜料的制备成功使得黑色的艺术创作成为可能，黑色自此成为了独一无二的颜色-example好多艺术家对黑色的创作，委拉斯贵兹的自画像、卡拉瓦乔、巴洛克对黑色的研究等等
• 黑暗神话激发了艺术创作者的灵感但绘画上的接受度还有差异-莫奈和一些印象派的追随者没有使用黑色创作，然而马奈变黑为光
近代对黑色的创作和解读
• 近代艺术家对黑色的艺术运用用于政治主题表现目的-毕加索、马列维奇、美国抽象表现派
• 近年来的黑色运用与新的艺术解读
积累：
学一下颜色的含义：
Most colours represent different things for different people. The hue of death in India and in some Slavic cultures is white, yet white also means spiritual rebirth for Muslims participating in the haj. Green was for bankers in early modern Europe; in the Kenyan flag it represents the land. Red is the badge of loyalty and success in China and of power and devotion in Russia.
conjure up浮现
It wasn’t only a hue in its own right, artists realised, but an enlivener of other colours. enlivener更有趣
“I took refuge in the form of the square.” 躲避
【人文科学-女权】
Women and Property across Colonial America: A Comparison of Legal Systems in New Mexico and New York
(WSY - 356 字 短阅读）
LAW was one of the main determinants of women’s experiences in colonial America. Women throughout the colonies lived in patriarchal social systems that limited their autonomy and power. Butthe specific legal and cultural rules that set the boundaries in which women were supposed to live varied among different regions. It mattered if a woman lived in a colony controlled by a common law system (as in England) or a civil law system (such as that of Spain).
When travelers from the United States later encountered Spanish—American law, they scornfully dismissed it as inferior to Anglo-American law. Yet civil law systems were far more protective of women’s property than the common law system was. This may not seem to fit the common perception of Spanish law and culture as being particularly patriarchal; it may seem contrary to the assumption that Spanish men expected to exert authority over wives and continued to control children until marriage. And it may not seem consistent with the perception of English law as being more individualistic than Continental European legal systems. Nevertheless, a comparison of women’s lives under two different colonial legal regimes shows that women gained tangible benefits from civil law systems that they did not enjoy under common law.
New Mexico provides a good example of the impact of Spanish law on colonial women, while New York provides a more complex example of a civil law system (Dutch) giving way to a common law (English) system.
During her marriage, the woman’s own property (bienes parafernales) legally remained under her control and could not be sold by the husband. She had the right to dispose of this property by will without her husband’s consent. When a man died, his widow continued to control the bienes parafernales; she also gained full control of the dowry and the arras as well as receiving half of the community property (bienes gananciales). During the marriage, the husband was free to manage or even sell the community property as he saw fit. But at his death, his widow received full control of half that property, and the other half was divided among the man's children.
Source: WSY
主旨：对比New Mexico和New York殖民期妇女权利
背景：
概述：法律是决定在殖民时期美国妇女权利的因素之一。
社会：当时的妇女处于父系社会
学者B细分了居住在不同地理区域妇女的法律和文化规定，这些规定取决于common law还是civil law控制的殖民地
提出一个现象：尽管civil law控制的地方是典型的父系殖民区，但NM的妇女比NY的妇女受到更多的保护
削弱（为了加强矛盾感）：一系列矛盾用来加剧paradox
事实（为了加强）：通过对比两地的妇女生活，确实如此
举例：civil law下的妇女权利
积累
LAW was one of the main determinants of women’s experiences in colonial America.
American law, they scornfully dismissed it as inferior to Anglo-American law
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发表于 2021-1-17 12:02:34
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