2019-11582_00_璜安·可希歐 Juan Cossío.jpg

第七年為各位介紹 西班牙ROSA藝術集團 來台參加[2019 Art Revolution Taipei 台北新藝術博覽會]的藝術家。今年創紀錄邀請來了十二位藝術家,各具特色。現在要介紹的這位是西班牙新寫實主義大師:Juan Cossío [譯音:璜安·可希歐]。師從西班牙寫實主義大師安東尼奧.洛佩斯.加西亞(Antonio López García) 以及西班牙超寫實主義大師曼努艾勒.法蘭克羅(Manuel Franquelo)門下,又曾在西班牙三大美術館之一的普拉多美術館,擔任複製畫師,因而得以近距離觀察並詮釋古典畫作,繪畫功力自不在話下。但他樂於嘗試運用任何隨手可得的新技術,不懈不倦的研究與實驗致力於突破繪畫技巧的極限,因而發展出現今一般較為人所知的「新現實主義」,並成功體現了以女性形象為主題的獨特當代美學。

 

※特別聲明:痞客邦置入性廣告太多,尤其是手機版,這非我所願,如果打擾到您瀏覽的心情,還請見諒!

 

Juan Cossío 的這些作品即將在Art Revolution Taipei 台北新藝術博覽會(2019/4/25~29 at 台北市世貿三館)展售,歡迎前往看展。展位代號:K1~K6 [西班牙ROSA藝術集團] 。我們在FB也成立了公開社團(FB搜尋 "2019ART-ROSA"),按這裡可以進入看這十二位藝術家的所有參展作品以及每張作品的文字介紹

 

Juan Cossío [譯音:璜安·可希歐]

59歲(1960),出生與定居於西班牙馬德里(Madrid)。他在馬德里康普斯頓大學攻讀藝術與歷史,也曾在普拉多美術館擔任複製畫師。以女性形象為主題,借重攝影技術,以及使用噴槍作畫,讓他的超寫實風格在細節的處理上更加超越照相寫實。自1997年起至少有4項個展、35項群展、16場藝博會以及2項美術館展出記錄。他的作品在巴賽隆納MEAM歐洲現代藝術博物館有2件作品永久展示,西班牙國家郵政總局也收錄他的一幅繪畫作為郵票發行。  

http://josepgilart66.wixsite.com/home  ; https://www.facebook.com/profile.php?id=100010810563478 
   


《刊登在大會圖錄上的介紹文》

璜安.可希歐於1960年出生在馬德里。他以不懈不倦的研究和實驗致力於突破繪畫技巧的極限,因而發展出現今一般較為人所知的「新現實主義」。他的作品不斷在創新改變,透過他對作畫方式開放的心態,以及自始至終對繪畫技巧所抱持的好奇心,他樂於嘗試運用任何隨手可得的新技術,並成功體現了以女性形象為主題的獨特當代美學。 
Juan Cossio, Madrid 1960. Juan Cossio’s tireless research and experimentation into pushing the boundaries of pictorial techniques led him to what is now more commonly known as “ New Realism “. His work continues to evolve through an openness to approach and his continual curiosity in employing whatever new techniques are at hand in order to achieve his unique contemporary aesthetic which looks to the female figure as its main subject.    

 

以下是藝術家本人對單幅作品的英文說明(中文翻譯 by Chris Lee): 

2019-11582_01_璜安·可希歐 Juan Cossío_融入II Disolution II, Spirit of the Forest_複合媒材+鋁板mix mediums over Arches paper on Aluminium_80x120cm_50P_sm_2017.jpg

↑上圖:2019-11582_01_璜安·可希歐 Juan Cossío_融入II Disolution II, Spirit of the Forest_複合媒材+鋁板mix mediums over Arches paper on Aluminium_80x120cm_50P_sm_2017 《入選本屆圖錄》

這位女性裸體象徵著純潔和美麗。她與大自然融合,她本身就是大自然。 她為所有人祈福。她是森林的仙女。
The nude is purity and beauty, it’s female, she is integrated into the wild, she is nature herself. She dreams with happy things for all of us. We can almost affirm that she is the spirit of the forest.

 

2019-11582_02_璜安·可希歐 Juan Cossío_女體I Nude I_複合媒材+鋁板 Mixed mediums on Aluminium_110x48cm_25號_sm_2016.jpg

↑上圖:2019-11582_02_璜安·可希歐 Juan Cossío_女體I Nude I_複合媒材+鋁板 Mixed mediums on Aluminium_110x48cm_25號_sm_2016 《入選本屆圖錄》

她身體斜倚著,正在休息;她心情放鬆著,滿是平和。
整體畫面沿著水平方向流動,背景是極簡的空間。
沒有聳動的顏色,單純的黑與白,像是一個懷舊而幸福的回憶。
She is reclined, she is resting, she is relaxed, she is in a peaceful mood.
All flow in horizontal direction. Behind her a minimal background, the space.
The color don’t disturb us. She is in black and white, like an old and happy memory.

 

2019-11582_03_璜安·可希歐 Juan Cossío_本然II On Nature II, The Forest _複合媒材+鋁板mix mediums over Arches paper on Aluminium_57x77cm_20M_sm_2018.jpg

↑上圖:2019-11582_03_璜安·可希歐 Juan Cossío_本然II On Nature II, The Forest _複合媒材+鋁板mix mediums over Arches paper on Aluminium_57x77cm_20M_sm_2018

她是森林裡的仙女,純潔而細緻,就像大自然一樣。她為了保護環境、保護自然、保護我們。她累了,她想休息,恢復體力。
She is sleepy, she is a fairy of the forest. The nude is pure and delicate, like mother nature is. She is here to protect the environment, the nature and to protect us.

 

2019-11582_04_璜安·可希歐 Juan Cossío_本然I On Nature I, Colors dream_複合媒材+鋁板mix mediums over Arches paper on Aluminium_75x57cm_20號_sm_2018.jpg

↑上圖:2019-11582_04_璜安·可希歐 Juan Cossío_本然I On Nature I, Colors dream_複合媒材+鋁板mix mediums over Arches paper on Aluminium_75x57cm_20號_sm_2018

年輕的女孩靠牆休息著。 有那麼一瞬間,牆面轉換成我們所有的願望,夢想成為真實,人生從黑白變為彩色。 象徵著夢想是可能實現的。
The young model take a rest and she is leaning on the wall. For a moment the wall is transformed in all our wishes, The dream becomes a real, the black and white is alternated with colors. To accomplish dreams is possible.

 

2019-11582_05_璜安·可希歐 Juan Cossío_分身Repetition Transformation_複合媒材+鋁板 Mixed mediums on Aluminium_105x75cm_40號_sm_2018.jpg

↑上圖:2019-11582_05_璜安·可希歐 Juan Cossío_分身Repetition Transformation_複合媒材+鋁板 Mixed mediums on Aluminium_105x75cm_40號_sm_2018

 

這位年輕的女孩正在吹拂她自己的形象,重複的外型顯示有一些能量已經被啟動,催出了好運與正向的共鳴。一個神秘的吹拂,充滿了青春的正能量。
The young model is blowing her own image, the repetition of the shapes indicate us that something is launched, something has already start with good fortune and positive vibes, like a mystical blow, with all the strength of the youth.

《分身》背後的想法來自當今充斥電子數位資訊的現代生活,它要說的是激增累積的訊息量,比如我們在電腦中大量收集的文件檔案,隨著時間數量會不可避免地持續增加。可希歐說:「反覆出現亦即永恆持續,這是一個非常現代的觀點,部分是根據安迪.沃荷所講的重複性而來。」少女對過去拋出飛吻,也是對前數位時代的道別,也不過短短的數十年前,我們是沒有任何人有個人電腦、手機,或GPS衛星導航定位系統。 
The thought behind Repetition Transformation is based on contemporary life which is permeated with digital data. It suggests the accumulation of information that happens, for example, on a computer where we amass archived files and, as time passes, our records inevitably continue to increase in size. Cossío states, “To repeat is to perpetuate, it is a very modern idea partly based on Warhol’s repetitions.” The young girl blows a kiss towards the past, a farewell to the predigital age of just a few short decades ago when none of us had personal computers, cell phones, or GPS. 

 

<<補充介紹 (中文翻譯 by Yingchi Ku) >>

璜安.可希歐於1960年生於馬德里,他在馬德里康普斯頓大學攻讀美術和歷史,自1980年起,他在普拉多美術館擔任複製畫師,因而得以近距離觀察並詮釋古典畫作。他受教於西班牙寫實主義大師安東尼奧.洛佩斯.加西亞(Antonio López García) 之下,也拜西班牙超寫實畫派(源自1960年代的新寫實主義運動)大師曼努艾勒.法蘭克羅(Manuel Franquelo)為師。
Juan Cossio was born in Madrid, Spain in 1960.  He received academic training in Art and History at the Complutense University of Madrid.  From 1980, Cossio worked as a Copyist at the Museo del Prado, where he studied from close observation and reinterpreted classical works of art.  He studied under Spanish realist Antonio López García and also became a student of Manuel Franquelo, one of Spain’s leading hyperrealist painters from the New Realism movement of the 1960s.

可西歐的作品屬複合媒材,結合照片印刷使用的碳粉轉印技術、壓克力顏料和油彩。他主要的工具是噴槍,噴槍以噴墨的方式在畫布上上色,使顏料完美平滑地混和。這種調色方式讓可希歐得以在精心繪製的作品中完成精緻的細節,並達到相當高的準確度。藉由噴槍而非一般通用的畫筆,可希歐改變了工具本身的功能,原來為修相片而設計的噴槍如今成了創作照相寫實影像的要角。
Cossio works in mixed media.  He combines toner photo transfers with acrylic and oil.  Cossio’s principle tool for painting is an airbrush, which sprays the paint onto the canvas and allows for seamless blending of pigments.  This blending allows Cossio to achieve high detail and precision found in his elaborate works.  By using an airbrush instead of a standard paintbrush, Cossio changes the function of a tool originally designed to retouch photographs into the primary means of creating a photorealistic image. 

IMG_Juan Cossío_at MEAM_5.jpg

↑上圖:璜安.可希歐的作品懸掛於巴塞隆納歐洲現代美術館
Juan Cossio’s paintings hanging at the MEAM Museum in Barcelona
MEAM即歐洲現代美術館 
MEAM means Museo Europeo de ArteModerno, In English European Museum of Modern Art
 
左 Left:埋葬真相 (2005)165x120cm    噴槍、木板
Elentierro de la verdad (2005)  165x120cm  Aerógrafo sobre tabla
右 Right:臍帶(2006)   153x110cm噴槍、木板
Umbilical (2006)    153x110cm  Aerógrafo sobre tabla

這兩幅畫已被具象寫實藝術的重量級美術管(歐洲現代美術館)所藏
These two works were adquired by this important museum of figurative and realistic art
這兩幅畫現於歐洲現代美術館展出
The paintings are on display at the Museum
歐洲現代美術館與美國知名的藝術復興中心(Art Renewal Center) 有相關合作,它們會一起舉辦活動。
This museum is also associated with the prestigious Art Renewal Center in USA and they do events and activity together.

 

One of Juan Cossio’s paintings was the image of an stamp of the National Spanish Post Office.jpg
↑上圖:2004 西班牙郵政總局選擇Juan Cossio的繪畫作品“耶穌誕生”做為郵票來發行。
2004.The Spanish Post Office chooses the painting "Nativity" for its reproduction on stamp.

在以色列最負盛名的私人現代與當代藝術收藏機構收藏了兩幅他的作品(http://dubishiffartcollection.com/artist/cossio-juan-manuel/)此知名收藏單位已經有約70年的收藏歷史(館藏包括已故以色列國寶當代藝術大師Givati Moshe&全球美術館巡迴展常客之當代寫實肖像畫派巨星~奧地利的Helnwein Gottfried 等...)

 

<<藝術評論 (中文翻譯 by Yingchi Ku) >>

可希歐與抽象藝術的一場冒險 Cossío’s Flirt with Abstraction  
2017/03/01    PoetsArtists Magazine      by Lorena Kloosterboer (realist artist & author) 

璜安.可希歐是西班牙人物畫家,他使用噴槍作為主要工具,在極具當代性的場景中畫出表面極其光滑,高度寫實、描繪逼真的女體。可希歐是新寫實主義的擁護者,新寫實主義旨在經由對繪畫技法與媒材的實驗發展出新的藝術形式,以呼應藝術在當代消費社會中不斷轉變的身分角色。但可希歐在保持對寫實主義的忠誠之時,也力求突破限制。 
Juan Cossío is a Spanish figure painter who uses the airbrush as his main tool to achieve ultra-smooth, highly realistic depictions of the female form within contemporary settings. Cossío is a proponent of New Realism; its principle calls for experimentation with methods and materials in order to develop new types of art in response to art’s shifting role within contemporary consumer society. Cossío seeks to push these boundaries while remaining faithful to realism. 

IMG_Juan Cossío_1.jpg

↑上圖:Juan Cossío  |  lefttoright:Boxed In - Ladder I - Red Circle
由左至右:《在紙箱裡》、《梯子I》、《紅圈圈》

大約十年前,我在倫敦的畫廊第一次看到可希歐的畫,立即吸引我的是,在極富創意與當代性的場景設計中他對女體古典、完美無瑕的描繪,不論是蜷縮在硬紙箱中嬌嫩的裸體、試著在梯子上往上爬升的女子,或是在工業用管子圍繞之中擺姿勢的女人。傳統畫風與技巧的完美融合,如今卻牢牢深植於今日的現代世界裡,而精緻細膩的畫功,讓人體的溫柔美麗優雅地與簡約的背景、實用性物品並置其上。 
About a decade ago I saw Cossío’s paintings in London for the first time. What immediately attracted me were the classic, flawless depictions of female figures within innovative contemporary settings—delicate nudes curled up in cardboard boxes, tentatively going up ladders, or posing with industrial tubes. A flawless fusion of traditional expression firmly planted in the modern-day world. Superbly rendered, the tender beauty of the human form elegantly juxtaposes against minimalistic interiors and utilitarian objects. 

就像所有的超寫實主義畫家,可希歐使用照片作為創作的起點,他覺得攝影照相的品質對畫作的成功是至關重要的。過去他依賴專業攝影師、化妝師和模特兒,包括女演員與舞者,來完成一張張成功的照片,做為他畫作的基礎。儘管照片是如此的重要,可希歐也明確表示相片並無法可靠或真實地捕捉膚色光澤,他說:「藝術家必須親自研究皮膚才能真正理解瞭其顏色、色調、質地與造型藝術之美的微妙之處。」 
Like all hyperrealists, Cossío uses photographs as a starting point for his paintings. He finds the quality of the photographic image crucially important for the success of a painting. In former days, he relied on a professional photographer, makeup artist, and models—including actresses and dancers—to achieve successful photoshoots on which he’d base his paintings. Despite its vital role, Cossío clarifies that photography cannot capture skin reliably or truthfully, and states, “An artist needs to study skin in person to truly understand the subtleties of coloring, tone, texture, and plasticity.” 

他會在最信賴的噴槍技巧之外加上其它的媒材,例如奇異筆、鉛筆和畫筆,以便擁有更多表達的自由。他稱此為複合媒材,但「複合媒材」一詞卻在我心裡拉起了警報,我必須承認,每一次我看到被標示為複合媒材的藝術品,我都會懷疑畫家利用印刷技術來掩飾其傳統繪畫技巧功力的不足。儘管可希歐不認為印刷技法的使用有什麼問題,而且也真的非常享受能運用手邊各種媒材的自由,我還是覺得有必要強調他所有的作品都是手工繪製的。
He addsothermediums, such as markers, pencils, and brushwork, tohistrustedairbrushskills, allowinghimselfmuch more freedomofexpression. He callsit “mixed media” buttheterm sets alarmbells off in mymind—I mustconfessthatevery time I seeartworkdescribed as mixed media I suspectthe use ofprintedmaterialstodisguise a lackoftraditionalpaintingskills. Although Cossío seesnothingwrongwiththe use ofprints and reallylikesthefreedomto use anymediumavailable, I do feeltheneedtoemphasizethatallofCossío’sworkishandcrafted.

 

作畫過程影片:https://www.youtube.com/watch?v=lMIRpWUraO8
 [字幕中文翻譯 by Yingchi Ku]
噴槍早已為超寫實主義繪畫所使用,因為它具有把影像在畫面上複製如照片般寫實逼真的特性;噴槍作畫的技巧亦廣為美國超寫實主義畫家、普普藝術畫家所採用,七零年代它也常被用來製作黑膠唱片封面。所以噴槍是現代化的工具,它的特點在於使用過程中不需與畫作表面直接接觸,從這點來看,噴槍作畫與使用畫筆、鉛筆等與直接在畫面上作畫的傳統繪畫是背道而馳的。使用噴槍時一定得跟畫面保持距離,這是很特別的一種畫法。 

我的作品是照片與繪畫的綜和,這裡我所謂的「繪畫」是就媒材而言,也就是顏料本身。我使用壓克力顏料、油彩等,我會把它們混合著用。 

在作畫之前,首先要把原創的想法帶進攝影棚拍攝照片,它必須是高解析度的照片(使用折疊式相機拍攝),尺寸13x18公分的大小。 

噴槍作畫需要一個非常平滑的表面。你可以測試看看,這塊打了底的木板是完全的均勻平滑,就像金屬一樣,它如果不夠光滑平均,就無法做出3D的立體效果。毫無疑問的,你必須以木板來作畫,它是最好的繪畫底板,因為能被處理成平整光滑的表面;畫布並不適合,因為它表面有顆粒般的粗糙布紋。 

照片的顏色其實蠻假的(口白:照片其實無法完全表現真實的色彩,這是直到今天我們尚未能解決的問題),所以一定得回到真實的景物上,在圖像上另添色彩加以改進。

噴槍作畫另外還需要注意的是遮覆的技巧。這是個必須非常小心注意細節的工作,要先剪出形狀,來描摹人、物的大小和輪廓線。無庸置疑的,照片上的資訊絕對是不夠的,最終你還是得回到真實的模特兒身上,這才是最主要的資料來源,這也是繪畫與照片的不同之處。在顏色、陰影、色調上,繪畫永遠需要自然界的實景實物做為參考。這是一位畫家責無旁貸的工作。

 

2019order0411.jpg


Art Revolution Taipei 2019 
第九屆台北新藝術博覽會
貴賓之夜:2019. 4.25(四) 19:00~22:00 (憑VIP邀請卡入場)
公眾展覽:2019. 4.26(五)~4.29(一) 11:00~19:00)
展覽地點:台北世貿三館(台北市松壽路6號)
網 址:http://www.arts.org.tw/ 

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