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第一段
1 .Listen to part of a talk in an art history class.
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第二段
1 .So today we are going to continue our discussion of 20th century photography in the United States.
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2 .Last time we were talking about Alfred Stieglitz and we saw that one of his goals was to introduce Americans to European Art.
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3 .Today, we are going to look at another photographer from the early 20th century.
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第三段
1 .Yes, Jennifer?
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第四段
1 .Before we get to that, I had a question about Stieglitz.
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第五段
1 .Sure.
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第六段
1 .Well, Stieglitz was married to Georgia O'Keeffe. Right?
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第七段
1 .That's right. Stieglitz was married to her, promoted her work and actually, took some amazing portraits of her when they were married.
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第八段
1 .For anyone who's not familiar with this, we are talking about the American painter: Georgia O'Keeffe.
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第九段
1 .Ok. Well, I was wondering...Georgia O'Keeffe.
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2 .You know I've heard her name so many times and I've seen some of her work. But she's not mentioned in any of our reading about photographers from that time.
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第十段
1 .Oh. Well, O'Keeffe was really more of a painter.
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第十一段
1 .I thought she was a photographer, too.
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2 .I mean, I just saw one of her photographs in a museum the other day.
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3 .I think it was called "Red Leaves on White" or something like that.
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第十二段
1 .Oh, right! Yes. "Large Dark Red Leaves on White" is the complete title.
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2 .It's a fairly well-known painting by O'Keeffe.
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第十三段
1 .Oh, oh, okay. What was I thinking?
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2 .I guess I should have had a closer look.
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第十四段
1 .No, no. That's a really good observation.
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2 .I mean chronologically that would be impossible.
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3 .When she did that painting, color film hadn't even been invented yet.
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4 .Neither had the right technology to blow pictures up that big to show that much detail.
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第十五段
1 .But that painting and some of her other paintings do reveal the... the influence of photography, like, uh, she would crop her images.
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2 .She would make a frame around part of an image, say, just the very center and then cut off certain parts, the parts outside that frame, to create the effect she wanted, the way a photographer does.
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3 .And those paintings are close-ups, like you might see today, of a person or a flower in a photograph.
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第十六段
1 .Now, those techniques were certainly around and being used by photographers then.
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2 .But just in photographs, which were smaller not as big as what O'Keeffe was painting.
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第十七段
1 .Also, O'Keeffe studied under an artist named Arthur Wesley Dow.
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2 .That's DOW, D-O-W, who advocated focusing on simple basic forms, like the lines of a flower and its petals and he wanted forms to be isolated from their original settings.
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第十八段
1 .He believed that, by doing that, an artist could reveal an object's, its essence.
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2 .He'd do things like...like...have students take a simple ordinary form, like a leaf, and explore various ways of fitting all of it into a square, maybe bending it around to make the whole thing fit into the frame. Pierre?
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第一十九段
1 .It sounds like maybe O'Keeffe borrowed most of her ideas. The stuff we might think of as being hers, she got them from other people.
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2 .She didn't really have a style of her own.
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第二十段
1 .Well, virtually, all artists are influenced by other artists, by their predecessors, by their contemporaries, their teachers...
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第二十一段
1 .Artists build on what other artists have done.
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2 .But if they are talented, they take it in some unique direction to develop their own distinctive style.
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第二十二段
1 .O'Keeffe liked to create abstract interpretations of real objects.
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2 .In the painting Jennifer mentioned,
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3 .Large Dark Red Leaves on White, in addition to exaggerating the size of the leaf, O'Keeffe juxtaposes it against a silver or whitish background.
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4 .So that's more of an abstract setting for it, and so on.
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第二十三段
1 .Now, O'Keeffe wasn't the first artist to create an abstract interpretation of a real object but she used that approach to express her experience of the object she was painting.
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2 .So she presented a vision that people hadn't seen before.
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3 .It's unique.
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4 .It's compelling.
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5 .She didn't expect other people to experience the object the way she did.
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6 .She knew they'd look at her painting and hang their own associations on it, which is true for artwork in general, I think.
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7 .That's just the way the human brain works. But at least they'd be taking a careful look at something they'd never really paid much attention to.
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