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Battling Men 2 (2022) 图画 由 Edwin Loftus
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“艺术”在纸上打印
这是使用非常高质量的颜料墨水在美术纸上打印并以很高的清晰度打印的过程。它的保存水平非常出色(超过100年),其质量,深度和细微差别超过了在Argentic纸上的经典照片打印。

光面漆
纤维纸除了具有非凡的厚度外,还由不含酸的α-纤维素基底组成,并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色,不泛黄,特别设计用于抵抗老化。它具有出色的分辨率,呈现深沉的色彩,因此已被世界各大博物馆所采用。
Art Print“美术”-在325 g纤维原纸上的光泽处理。

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文件尺寸 (px) | 1200x1500 |
全球使用 | 是 |
用于多点支持 | 是 |
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艺术图片银行-
原创艺术品 (One Of A Kind)
图画,
粉彩
在纸上
- 外形尺寸 高度 10in, 宽度 8in
- 是否含画框 此作品未装裱
- 分类 画图 低于US$1,000 象征主义 战争
It is an oddly inartistic piece. I am convinced that it was probably an anatomy guide for apprentices or journeymen in the Master's shop, just as cartoonists produce "character studies" as guides for the lower ranked artists in an animation studio today.
It is probably not indicative of this long ago Master's real skill, just a working tool developed so followers could better copy their employers style, never intended to be on display. And yet, it is a work of considerable craftsmanship and includes a background and the ground they stand upon.
It has stuck with me because of the absurdity of these eight men gathered naked to do battle, the fury on their faces, and the truth in the totality of the image.
Men battle other men. We do so from an early age, instinctively, and I believe, by the nature of our design.
We seldom do so, like our animal cousins, as a way to eliminate rivals for the females in our herds. Rather, most of my fights, (and they were many because I grew early and though barely over six feet now, I reached that height at 10 to 11 years, and was always the "boy to beat", for those who liked to fight more than I did), were as a defense of my right to exist and occupy whatever space I was in at that moment.
I think it is the desire to exist that fuels our battles, and the failure to equally respect the right of others to exist that ignites them.
As a cost versus gain equation, at a very early age I realized that even if you win the fight, (which, at my size, I tended to do unless fighting boys years more mature than I was), fighting was a very poor means of resolving existential issues. I was always cognizant of my ability to actually injure others, and respecting their right to exist, I didn't want to live with that on my conscience. And win or lose, one seldom really fights another without sustaining damage to oneself, and that hurts.
Oddly, peace came as I abandoned my unwillingness to harm other people, (and coincidently became more than averagely strong and experienced and capable of doing so). As I became more potentially dangerous, I assumed that those being aggressive toward me were also more capable and decided that, if they were insistent on fighting me, I would quickly end their ability to do so. I would ignore insults and angry mannerisms. I would allow them to take a first punch without responding. But not a second punch.
After adopting this approach, I lived almost violence free. (that's not quite true because working in Psychiatry, I had almost daily, to overpower and restrain people who were violently insane, and did that for 12 years. But I counted only a few of those thousands of fights as "real fights"). I think it was because I projected an impression that I was someone not worth fighting with.
In life and international relations, there are axioms that describe this:
- "Walk softly, but carry a big stick."
- "The best defense, is a good offense."
- And the motto, "Peace through preparedness." or "The best way to not have to go to war, is to always be prepared to go to war."
Like many things in this existence, battling men is an absurdity and a reality and the answer to it is a paradox that we either learn to live with, or not.
相关主题
Edwin Loftus 是一位出生于 1951 年的美国画家和绘图员。他对艺术的兴趣始于 4 岁,当时他决定画一些真实的东西,而不是从他的想象中工作。
小时候他擅长绘画,十几岁时他开始尝试油画。在大学里,他修读了艺术和艺术史课程,并意识到真正的艺术与绘画或绘画的质量无关,而必须有突破界限和扩大视觉体验的雄心。
他还研究了哲学、心理学和历史,并很快意识到这只是另一个试图捍卫其精英行业和奖励制度的艺术机构。他们的技能几乎不存在,他们对心理学、感知或刺激反应一无所知,他们是使共产主义、法西斯主义和其他形式的极权主义在世界上具有如此毁灭性力量的信仰体系的延伸。他们从字面上相信艺术不应该为普通人提供,而只提供给“成熟”到足以理解它的精英。
Edwin Loftus意识到艺术的皇帝没有衣服,但他们仍然是皇帝。他有艺术天赋,努力学习这项技能。于是他另谋生路,时不时卖掉几件艺术品。六十年来,许多人喜欢他的作品,也有人收藏。
今天,埃德温·洛夫特斯退休了。即使他以他要求的价格卖掉了他所有的画作,“艺术家”将是他做过的最低薪的工作……但事实就是如此。他死后对他来说就无所谓了。他只是希望将来有人会喜欢他所做的足以享受它。
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国籍:
美国
- 出生日期 : 1951
- 艺术领域: 具有认证艺术家价值的艺术家的作品,
- 团体: 认证的艺术家 美国当代艺术家