雅培·翰德逊·泰勒（Abbott Handerson Thayer）生于1849年8月12日，卒于1921年5月29日，他是美国的艺术家，同时，泰勒也是一位自然主义者和教师。
中国美术网 09-05 浏览
处女(1892 - 93),暗指作画翼的胜利女神
泰勒出生在马萨诸塞州的波士顿。乡村医生的儿子,他度过了他的童年在农村新罕布什尔州,近了基恩,脚下山残丘.在农村,他成为一个业余博物学家(用他自己的话说,他是“鸟疯了”),一个猎人和一个设陷阱捕兽者。金缕梅密切研究奥杜邦的美国鸟类,尝试了动物标本制作,首次艺术品:水彩绘画的动物。
十五岁时他被送到了《学校大厅在波士顿,在那里他遇见了亨利·d·莫尔斯,一个业余艺术家画动物。阿博特在莫尔斯的指导下,开发和改进他的绘画技能,重点描写的鸟类和其他野生动物,并很快开始画动物肖像的佣金。
18岁时,他搬来布鲁克林,纽约,在布鲁克林艺术学校和学习绘画国家设计学院。学习下威尔玛斯勒.在此期间他遇到了许多新兴和进步的艺术家在纽约,包括他未来的妻子凯特Bloede和他亲密的朋友,丹尼尔·切斯特法国。他展示了在新成立的工作美国艺术家协会,继续完善他的技能作为动物和风景画家。1875年,凯特Bloede结婚后,他搬到了巴黎,在那里他学习了四年美术学院,亨利·莱曼和Jean-Leon Gerome,和他最亲近的朋友成为了美国艺术家乔治·德森林刷。回到纽约,他建立了自己的肖像工作室(他与共享丹尼尔·切斯特法国),成为活跃在社会的美国画家,在学徒开始。
1904年冬天,残丘,布面油画
金缕梅的生活变得几乎无法忍受和他的妻子在1880年代早期,当两个小孩意外身亡,一年分开。感情破坏,他们在接下来的几年从一个地方迁移到另一个地方。虽然他还没有获得经济上,金缕梅的名气越来越大,导致更多的画像比他能接受的佣金。在他的保姆马克吐温和亨利•詹姆斯,但他的许多画作的主题是剩下的三Thayer孩子,玛丽,杰拉尔德和格拉迪斯.
她的父亲死后,金缕梅的妻子陷入一种不可逆转的忧郁症,导致她的监禁在一个庇护,她的健康状况的下降,和她最终死于5月3日,1891从肺部感染。不久之后,金缕梅结婚了他们的老朋友,埃米琳“艾玛”白金汉海滩,他的父亲拥有《纽约太阳报》。他和他的第二任妻子度过他们的余生在新罕布什尔州的农村,生活简单而高效地工作。1901年,他们永久定居都柏林,新罕布什尔州塞耶,在那里长大。
偏心和固执己见,金缕梅越来越所以随着年龄的增长,和他的家人的生活方式反映了他强大的信念:金缕梅通常睡在户外全年为了享受新鲜空气的好处,和三个孩子从未进入了一所学校。年轻的两个,杰拉尔德和格拉迪斯,分享了他们父亲的热情,并成为画家。1898年,泰勒访问圣艾夫斯康沃尔,在一篇介绍性的来信c·哈特Merrian美国生物调查的首席华盛顿特区。,应用于耶和华的圣艾夫斯庄园Treloyhan,亨利·亚瑟带到韦尔斯利,第三考利伯爵,允许收集标本从悬崖在圣艾夫斯的鸟类。在这后他生活的一部分,在泰勒的邻居是乔治•德森林刷(当他们不吵架)与他合作在伪装。
天使,1887年,布面油画。史密森尼美国艺术博物馆
阿伯特·h·塞耶。姐妹们,1884年。布面油画。布鲁克林博物馆
很难分类Thayer仅仅作为一个艺术家。他经常描述的第一个账户偏心和变幻无常,有一个平行的矛盾的学术传统、自发性和即兴创作的艺术方法。例如,他在很大程度上是被称为“理想人物”的画家,他把女性描绘成美德的化身,装饰在飘逸的白色束腰外衣和配备有羽毛的天使的翅膀。与此同时,他使用令人惊讶的是非常规的方法,如故意混合污垢进入油漆,或(至少在一个实例,根据罗克韦尔肯特)使用扫帚而不是刷减少刚度在新完成的感觉,还是湿的绘画。
金缕梅在很大程度上是被女人包围,是他们家人、管家、模型或学生。传记作家罗斯·安德森认为,在他看来“女性美德和审美宏伟密不可分;“Thayer认为媒体甚至其他艺术家导致退化的女性通过强调他们的性取向,而不是提升他们的道德属性。当他开始添加翅膀数字在1880年代末,他更明显的卓越的品质他看到女性主题:
金缕梅的主题是第一次使用这幅画天使。翅膀被钉进董事会,在他的女儿玛丽站在面前。金缕梅的意象被发现希望的辛酸艺术评论家克拉伦斯•王,世卫组织建议使用桶”捕捉滴情绪”,然而其他批评者玛丽安娜·伦斯勒理工学院被Thayer宁静的视觉印象,,看到一个“明显的现代”的方法在传统的成分。
他幸存下来的帮助下他的顾客,其中实业家查尔斯·朗更自由。他的一些优秀的作品的集合自由的艺术画廊,大都会艺术博物馆,国家设计学院,史密森尼美国艺术博物馆,芝加哥艺术学院.
泰勒在他的教学足智多谋,他认为有用的,不可分割的一部分,他自己的工作室工作。在他的忠实的学徒罗克韦尔肯特,路易斯•阿加西要塞理查德•梅里曼禁止巴里·福克纳(金缕梅的表弟),亚历山大和威廉·詹姆斯(哈佛大学哲学家的儿子威廉•詹姆斯塞耶),自己的儿子和女儿,杰拉尔德和格拉迪斯。他也有着深远的影响丹尼斯·米勒地堡,虽然不是正式的学生,被邀请到油漆与老艺术家,1886年,写了“泰勒是第一个伟大的人我认识,我不太习惯。”
在一封给托马斯·威尔默结露 (c。1917年,在美国艺术档案的收集,史密森学会塞耶),显示他的方法是在一个新的绘画仅三天。如果他工作更长时间,他说,他将一事无成,或会毁了它。第四天,他将休息,而是尽可能远离工作,但与此同时指导每个学生做一个精确复制的为期三天的绘画。然后,当他回到他的工作室,他会(用他的话说)“扑向一个副本,给它一个为期三天的再次推”。结果,他最终将替代版本相同的绘画,在大大不同完成状态。
countershading研究由金缕梅的照片。左边的模型是伪装和可见的,而另一个在右边是countershaded和无形的。
金缕梅有时被称为“伪装之父”。虽然他没有发明伪装,他是第一个写破坏性的模式打破一个物体的轮廓,关于化妆舞会,就像一只蝴蝶模仿叶(尽管他预期贝茨,华莱士,Poulton),尤其是关于countershading.
从1892年开始,他写了关于countershading性质的函数,通过形成出现一轮和固体倒阴影,他占动物的白色的一面。这一发现还广泛接受,现在有时被称为泰勒定律。不过,他对这一想法,所有的动物都是伪装,破坏他的案件被认为明显的鸟类孔雀和火烈鸟实际上是隐秘地颜色。他大力抨击这一漫长的论文西奥多。罗斯福.
“泰尔紧张理论非常极端”:白色的火烈鸟,红色的火烈鸟和天空他们模拟(黎明或黄昏),画的金缕梅
泰勒在1898年第一次卷入军事伪装,在美西战争,当他和他的朋友乔治·德森林刷提出保护颜色在美国船只的使用,使用countershading。两位艺术家并获得他们的想法在1902年专利申请,题为“船舶将外面的过程,等等,让他们不太明显”,他们的方法是描述为建模的颜色海鸥.
金缕梅和伪装持续到刷的实验第一次世界大战协作和分开。早期,战争期间,例如,刷了透明的飞机,而泰勒继续他的兴趣破坏性或高度差伪装,不与英国船伪装设计师诺曼·威尔金森所说的炫目伪装(这个词可能是受塞耶的作品的启发,称为破坏性的模式在本质上是“各种花里胡哨”。)
渐渐地,金缕梅和刷委托他们伪装自己的儿子的责任。在动物王国隐匿色(1909),准备了七年,被誉为金缕梅的儿子,杰拉尔德。大约在同一时间,金缕梅再次提出船舶伪装美国海军(又不成功),这段时间工作不刷,但刷的儿子,杰罗姆·(命名为纪念他父亲的老师)。
1915年,第一次世界大战期间,金缕梅的建议英国战争办公室,但试图说服他们采取破坏性的图案battledress,在单色的地方卡其色,但是他太渴望亲自参加会议。与此同时,金缕梅和杰罗姆·使用countershading刷的提议船伪装被批准用于美国船只,少数Thayer爱好者(其中巴里·福克纳)招募了数百名艺术家加入美国伪装队。
阿伯特·h·塞耶。我的孩子,c。1896年-1910年。布面油画。布鲁克林博物馆
尽管艺术世界快速变化在20世纪初,泰勒保持强劲的声誉。耶鲁大学给了他荣誉学位,1916年在匹兹堡卡内基研究所展出他的作品在1919年,包括五十多个绘画。视图从他家的太残丘。成为一个最喜欢的科目,当该地区受到威胁与发展Thayer竞选成功保存。
他自己也承认,泰勒经常遭受条件是现在被称为双相情感障碍.在他的信,他将其描述为“阿伯特摆”,他的情感的两个极端之间交替(用他的话说)“all-wellity”和“令人恶心厌恶。”这种情况明显恶化,对他的伪装发现争议与日俱增,尤其是当他们被美国前总统谴责西奥多。罗斯福。随着年龄的增长,他遭受了越来越多恐慌症(他称为“fright-fits”),神经衰弱,和自杀的念头,以至于他不再被允许出去独自在他的船都柏林的池塘.Thayer继续画,但被迫停止工作几周由于神经衰弱。为了避免自杀的念头,在马萨诸塞州韦尔斯利,他在疗养院寻求帮助。
在71岁时,金缕梅,一系列的残疾中风1921年5月29日逝世,安静地在家里。
Thayer was born in Boston, Massachusetts. The son of a country doctor, he spent his childhood in rural New Hampshire, near Keene, at the foot of Mount Monadnock.[3] In that rural setting, he became an amateur naturalist[4] (in his own words, he was "bird crazy"), a hunter and a trapper. Thayer closely studied Audubon's Birds of America, experimented with taxidermy, and made his first artworks: watercolor paintings of animals.[3]
At the age of fifteen he was sent to the Chauncy Hall School in Boston, where he met Henry D. Morse, an amateur artist who painted animals. With guidance from Morse, Abbott developed and improved his painting skills, focusing on depictions of birds and other wildlife, and soon began painting animal portraits on commission.[5]
At age 18, he relocated to Brooklyn, New York, to study painting at the Brooklyn Art School and the National Academy of Design. studying underLemuel Wilmarth.[5] He met many emerging and progressive artists during this period in New York, including his future wife, Kate Bloede and his close friend, Daniel Chester French. He showed work at the newly formed Society of American Artists, and continued refining his skills as an animal and landscape painter.[5] In 1875, after having married Kate Bloede, he moved to Paris, where he studied for four years at the École des Beaux-Arts, with Henri Lehmann and Jean-Léon Gérôme,[3] and where his closest friend became the American artist George de Forest Brush. Returning to New York, he established his own portrait studio (which he shared with Daniel Chester French), became active in the Society of American Painters, and began to take in apprentices.
Life became all but unbearable for Thayer and his wife during the early 1880s, when two of their small children died unexpectedly, just one year apart.[6] Emotionally devastated, they spent the next several years relocating from place to place. Although he was not yet secure financially, Thayer's growing reputation resulted in more portrait commissions than he could accept.[7] Among his sitters were Mark Twain and Henry James, but the subjects of many of his paintings were the three remaining Thayer children, Mary, Gerald and Gladys.
After her father died, Thayer's wife lapsed into an irreversible melancholia, which led to her confinement in an asylum, the decline of her health, and her eventual death on May 3, 1891 from a lung infection. Soon after, Thayer married their long-time friend, Emmeline "Emma" Buckingham Beach, whose father owned The New York Sun. He and his second wife spent their remaining years in rural New Hampshire, living simply and working productively. In 1901, they settled permanently in Dublin, New Hampshire, where Thayer had grown up.[3]
Eccentric and opinionated, Thayer grew more so as he aged, and his family's manner of living reflected his strong beliefs: the Thayers typically slept outdoors year-round in order to enjoy the benefits of fresh air,[8] and the three children were never enrolled in a school.[9] The younger two, Gerald and Gladys, shared their father's enthusiasms, and became painters.[10] In 1898, Thayer visited St Ives, Cornwall and, with an introductory letter from C. Hart Merrian, the Chief of the US Biological Survey in Washington, D.C., applied to the lord of the Manor of St Ives and Treloyhan, Henry Arthur Mornington Wellesley, the 3rd Earl Cowley, for permission to collect specimens of birds from the cliffs at St Ives. During this latter part of his life, among Thayer's neighbors was George de Forest Brush, with whom (when they were not quarreling) he collaborated on camouflage.
It is difficult to categorize Thayer simply as an artist. He was often described in first person accounts as eccentric and mercurial, and there is a parallel contradictory mixture of academic tradition, spontaneity and improvisation in his artistic methods. For example, he is largely known as a painter of "ideal figures", in which he portrayed women as embodiments of virtue, adorned in flowing white tunics and equipped with feathered angel’s wings. At the same time, he did this using methods that were surprisingly unorthodox, such as purposely mixing dirt into the paint, or (in one instance at least, according to Rockwell Kent) using a broom instead of a brush to lessen the sense of rigidity in a newly finished, still-wet painting.[11]
Thayer was largely surrounded by women, be they his family, housekeepers, models or students. Biographer Ross Anderson believed that in his mind "feminine virtue and aesthetic grandeur were inextricably linked;" Thayer felt that the press and even other artists contributed to the degradation of women by emphasizing their sexuality, rather than exalting their moral attributes.[12] When he began to add wings to his figures in the late 1880s, he was making more obvious the transcendent qualities he saw in the female subject:
Thayer's first use of the theme was the painting Angel. The wings were nailed into a board, in front of which his daughter Mary stood.[13] The poignancy of Thayer's imagery was found wanting by art critic Clarence King, who suggested the use of buckets "to catch the dripping sentiment," yet other critics like Mariana Van Rensselaer were impressed by the serenity of Thayer's vision, and saw a "distinctly modern" approach in his traditional compositions.[14]
He survived with the help of his patrons, among them the industrialist Charles Lang Freer. Some of his finest works are in the collections of the Freer Gallery of Art, Metropolitan Museum of Art, National Academy of Design, Smithsonian American Art Museum, and Art Institute of Chicago.
Thayer was resourceful in his teaching, which he saw as a useful, inseparable part of his own studio work. Among his devoted apprentices wereRockwell Kent, Louis Agassiz Fuertes, Richard Meryman, Barry Faulkner (Thayer's cousin), Alexander and William James (the sons of Harvard philosopher William James), and Thayer's own son and daughter, Gerald and Gladys. He also had a profound influence on Dennis Miller Bunker, who, while not a formal pupil, was invited to paint alongside the older artist in 1886, and wrote "Thayer's the first great man I ever knew, and I can't quite get used to it."[15]
In a letter to Thomas Wilmer Dewing (c. 1917, in the collection of the Archives of American Art,[16] Smithsonian Institution), Thayer reveals that his method was to work on a new painting for only three days. If he worked longer on it, he said, he would either accomplish nothing or would ruin it. So on the fourth day, he would instead take a break, getting as far from the work as possible, but meanwhile instruct each student to make an exact copy of that three-day painting. Then, when he did return to his studio, he would (in his words) "pounce on a copy and give it a three-day shove again".[17] As a result, he would end up with alternate versions of the same painting, in substantially different finished states.
Thayer is sometimes referred to as the "father of camouflage".[3] While he did not invent camouflage, he was one of the first to write about disruptive patterning to break up an object's outlines,[3] about masquerade, as when a butterfly mimics a leaf (though here he was anticipated by Bates, Wallace, and Poulton), and especially about countershading.
Beginning in 1892, he wrote about the function of countershading in nature, by which forms appear less round and less solid through inverted shading, by which he accounted for the white undersides of animals. This finding is still accepted widely, and is sometimes now called Thayer’s Law.[3] However, he became obsessed with the idea that all animals are camouflaged, spoiling his case by arguing that conspicuous birds like peacocks and flamingoes were in fact cryptically colored. He was vigorously attacked for this in a long paper by Theodore Roosevelt.[2]
Thayer first became involved in military camouflage in 1898, during the Spanish–American War, when he and his friend George de Forest Brush proposed the use of protective coloration on American ships, using countershading.[3] The two artists did obtain a patent for their idea in 1902, titled "Process of Treating the Outsides of Ships, etc., for Making Them Less Visible", in which their method is described as having been modeled on the coloration of a seagull.[20]
Thayer and Brush’s experiments with camouflage continued into World War I, both collaboratively and separately. Early during that war, for example, Brush developed a transparent airplane, while Thayer continued his interest in disruptive or high-difference camouflage, which was not unlike what British ship camouflage designer Norman Wilkinson would call dazzle camouflage (a term that may have been inspired by Thayer's writings, which referred to disruptive patterns in nature as "razzle dazzle".)
Gradually, Thayer and Brush entrusted their camouflage work to the responsibility of their sons. Concealing-Coloration in the Animal Kingdom (1909), which had taken seven years to prepare, was credited to Thayer's son, Gerald. At about the same time, Thayer once again proposed ship camouflage to the U.S. Navy (and was again unsuccessful), this time working not with Brush, but with Brush's son, Gerome (named in honor of his father's teacher).
In 1915, during World War I, Thayer made proposals to the British War Office, trying unsuccessfully to persuade them to adopt a disruptively patterned battledress, in place of monochrome khaki, though he was too anxious to attend the meeting in person.[3] Meanwhile, Thayer and Gerome Brush's proposal for the use of countershading in ship camouflage was approved for use on American ships, and a handful of Thayer enthusiasts (among them Barry Faulkner) recruited hundreds of artists to join the American Camouflage Corps.
Despite rapid changes in the art world in the early 20th century, Thayer's reputation remained strong. Yale University offered him an honorary degree in 1916, and the Carnegie Institute in Pittsburgh mounted an exhibition of his work in 1919 that included over fifty paintings.[21] The view from his home of Mt. Monadnock became a favorite subject, and when the area was threatened with development Thayer campaigned successfully for its preservation.[22]
By his own admission, Thayer often suffered from a condition that is now known as bipolar disorder.[23][24] In his letters, he described it as "the Abbott pendulum", by which his emotions alternated between the two extremes of (in his words) "all-wellity" and "sick disgust". This condition apparently worsened as the controversy grew about his camouflage findings, most notably when they were denounced by former U.S. President Theodore Roosevelt. As he aged, he suffered increasingly from panic attacks (which he termed "fright-fits"), nervous exhaustion, and suicidal thoughts, so much so that he was no longer allowed to go out in his boat alone on Dublin Pond.[25] Thayer continued to paint, but was compelled to stop working for weeks at a time due to nervous exhaustion. In an effort to avert suicidal thoughts, he sought help at a sanatorium in Wellesley, Massachusetts.[22]
At age 71, Thayer, disabled by a series of strokes, died quietly at home on May 29, 1921.[26]
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
