藝苑掇英 Forrest Bess A 福雷斯特·貝絲 (1911-1977) Art brut Expressionism American скачать в хорошем качестве

藝苑掇英 Forrest Bess A 福雷斯特·貝絲 (1911-1977) Art brut Expressionism American

tonykwk39@gmail/com Forrest Bess (October 5, 1911-November 10, 1977) was an American painter and eccentric visionary. He was discovered and promoted by the art dealer Betty Parsons. Throughout his career, Bess admired the work of Albert Pinkham Ryder and Arthur Dove, but the best of his paintings stand alone as truly original works of art. Born October 5, 1911, in Bay City, Texas, Bess picked up his love of art from his mother. His father worked in the oil fields and ran a bait fishing camp of the Texas coast in Chinquapin. A semi-migrant childhood was followed by some years at college, where he began by studying architecture, but found himself diverted into religion, psychology, and anthropology, readings that would later inform his own radical theories. Dropping out of university in 1932, Bess worked for several years roughnecking in the Beaumont oil fields, and also made several trips to Mexico. During World War II, he enlisted in the Army Corps of Engineers and was given the task of designing camouflage. He suffered a psychological breakdown and left the service. After living for a while in San Antonio, he finally settled at his family's fishing camp at Chinquapin, near Bay City. Bess lived his life there in virtual isolation, on a strip of land accessible only by boat. "I try to tell myself that only by breaking completely away from society can I arrive at a reasonable existence." He worked as a commercial fisherman, but painted in his spare time. He experienced visions or dreams, which he set down in his paintings. It was during this time he began to exhibit his works, earning one-person shows at museums in San Antonio and Houston. During his most creative period, 1949 through 1967, Betty Parsons arranged six solo exhibitions at her New York City gallery. Bess was never comfortable for very long around other people, although he hosted frequent visitors to his home and studio at Chinquapin: artists, reporters, and some patrons made the trip to the spit of land on which Bess's shack stood. He did forge lasting relationships with a few friends and neighbors, and maintained years-long friendships and correspondence with Meyer Schapiro and with Betty Parsons. But ultimately Bess preferred solitude, and his prolific activities as an artist, highlighted by limited notoriety and success, alternated with longs spells of loneliness, depression, and an ever-increasing obsession with his own anatomical manifesto. In the 1950s, he also began a lifelong correspondence with art professor and author Meyer Schapiro and sexologist John Money. In these and other letters (which were donated to the Smithsonian Archives of American Art), Bess makes it clear that his paintings were only part of a grander theory, based on alchemy, the philosophy of Carl Jung, and the rituals of Australian aborigines, which proposed that becoming a hermaphrodite was the key to immortality. He was never able to win any converts to his theories or validation from the many doctors and psychologists with whom he corresponded. In his own home town of Bay City, he was considered something of a small-town eccentric. 福雷斯特·貝絲 Forrest Bess（1911年10月5日-1977年11月10日）是一位美國畫家和古怪的幻想家。他是由藝術品經銷商貝蒂帕森斯發現並推廣的。在他的整個職業生涯中，貝絲欽佩艾伯特·平克漢姆萊德和亞瑟·多夫的作品，但他最好的畫作獨一無二，是真正的原創藝術品。 B11於1911年10月5日出生於德克薩斯州貝城，他從母親那裡獲得了對藝術的熱愛。他的父親在油田工作，並在Chinquapin的德克薩斯州海岸開了一個誘餌釣魚營地。 一個半移民的童年後來在大學學習了幾年，在那裡他開始研究建築，但發現自己轉向宗教，心理學和人類學，這些讀物後來會告訴他自己的激進理論。 Bess於1932年退學，在Beaumont油田工作了幾年，並多次前往墨西哥。 在第二次世界大戰期間，他參加了陸軍工程兵團，並被賦予了設計偽裝的任務。他心理崩潰了，離開了這項服務。 在聖安東尼奧生活了一段時間後，他終於在他位於貝城附近的Chinquapin的家庭漁場定居。貝絲在虛擬隔離中度過了他的生活，在一片只能乘船到達的地帶上。 “我試著告訴自己，只有徹底擺脫社會才能達到合理的存在。” 他是一名商業漁民，但在業餘時間畫畫。他經歷了他在畫作中所描繪的異像或夢想。正是在這段時間裡，他開始展出他的作品，在聖安東尼奧和休斯頓的博物館裡贏得了一場個人表演。在1949年至1967年創作期間，貝蒂帕森斯在她的紐約畫廊舉辦了六場個展。 貝絲在其他人周圍很長時間沒有舒服，儘管他經常訪問他在Chinquapin的家和工作室的訪客：藝術家，記者和一些顧客前往Bess小屋所站的土地上。他確實與幾個朋友和鄰居建立了長期的友誼，並與Meyer Schapiro和Betty Parsons保持了長達數年的友誼和通信。 但最終貝絲更喜歡孤獨，而他作為藝術家的多產活動，以有限的惡名和成功為特色，與長期的寂寞，抑鬱和對自己的解剖學宣言的不斷增長的咒語交替出現。 在20世紀50年代，他還開始與藝術教授兼作家梅耶沙皮羅和性學家約翰錢德終身通信。在這些和其他信件（捐贈給史密森美國藝術檔案館）中，貝絲清楚地表明，他的畫作只是一個更宏大的理論的一部分，基於煉金術，卡爾榮格的哲學和澳大利亞原住民的儀式，提出成為雌雄同體是永生的關鍵。他從來沒有能夠從與他通信的許多醫生和心理學家那裡贏得他的理論或驗證。在他自己的家鄉貝城，他被認為是一個小鎮古怪。