2012年5月25日星期五

几米

在去年才刚开始真正的去关注和去了解_____ 几米,这位作家。
刚开始喜欢“几米”是被他的那些《语录》所吸引,每一句都那么有意识,甚至也可以给我一些的启发。
再来就是他的插画。几米的插画风格都是属于较接近现实生活中的事,配合他所写的语录,简直是个精彩的故事。



接下来,以下是一些关于几米的介绍:

廖福彬(1958年11月15日,笔名幾米)是台灣著名绘本畫家,筆名來自其英文名Jimmy
幾米畢業於中國文化大學美術系,曾在廣告公司工作十二年,後來為報紙雜誌等各種出版品畫插畫,1998年首度在台灣出版個人的繪本創作《森林裡的秘密》、《微笑的魚》,獲頒年度中國時報開卷最佳童書、民生報好書大家讀年度最佳童書、聯合報讀書人最佳童書獎。1999年出版《向左走·向右走》,獲選為1999年金石堂十大最具影響力的書,並興起台灣繪本創作風潮。其作品被翻译成数十种文字,畅销世界,評論者認為他的作品常以細密的筆觸透露淡淡的疏離感,也因此被大眾所喜愛。幾米的作品也被改編成舞臺劇、電影、電視劇和動畫,並有繪本主角的人形公仔和眾多圖像授權產品。


幾米是一位用畫筆描繪夢想,吸引無數讀者畫迷為之瘋狂,知名度迅速竄升的當红绘本作家,同時卻也是一個靦腆善良的中年男子,偏好簡單的居家生活,低調而淡泊。
幾米的個性害羞內向,不擅長用言語表達,他用敏銳細膩的心去感受週遭的人與事,將情感、思緒藉由「繪畫」傳達他對大千世界的看法,作品風貌多變,創 作力源源不絕,因此看幾米的作品,就像是走入他的內在。幾米的故事引領著每一位欣賞他作品的人看到並相信世界上的美與善,同時也反應了現代人生活中的點點 滴滴,因此每個人都能在他的故事找到一個映照和寄託,或許這就是幾米作品的迷人之處。

 

喜欢的几米作品:

那年的冬天特别寒冷, 整个城市笼罩在阴湿的雨里·
灰蒙蒙的天空,迟迟见不着阳光,
 
让人感到莫名的沮丧,

常常走在街上就有一种落泪的冲动···· 《向左走向右走》




有阴影的地方,必定有光
孤单时,仍要守护你心中的思念
那时候,未来遥远而没有形状,梦想还不知道该叫什么名字。
我常常一个人,走很长的路,在起风的时候觉得自己像一片落叶。
仰望星空,我想知道:有人正从世界的某个地方朝我走来吗?
像光那样,从一颗星到达另外一颗星。
后来,你出现了。又离开了。我们等候著青春,却错过了彼此……
但我永远会记得,那年夏天,最灿烂、最寂寞的星空。
《星空》




2012年5月12日星期六

Finally......the other art that i like also!!

>>Art Nouveau <<

Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. The exhibition is divided into three sections: the first focuses on the 1900 World's Fair in Paris, where Art Nouveau was established as the first new decorative style of the twentieth century; the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North America.

At its height exactly one hundred years ago, Art Nouveau was a concerted attempt to create an international style based on decoration. It was developed by a brilliant and energetic generation of artists and designers, who sought to fashion an art form appropriate to the modern age. During this extraordinary time, urban life as we now understand it was established. Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas. Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth.

Art Nouveau was in many ways a response to the Industrial Revolution. Some artists welcomed technological progress and embraced the aesthetic possibilities of new materials such as cast iron. Others deplored the shoddiness of mass-produced machine-made goods and aimed to elevate the decorative arts to the level of fine art by applying the highest standards of craftsmanship and design to everyday objects. Art Nouveau designers also believed that all the arts should work in harmony to create a "total work of art," or Gesamtkunstwerk: buildings, furniture, textiles, clothes, and jewelry all conformed to the principles of Art Nouveau.







2012年5月1日星期二

LiKe POP ART!!

realize that i am more suitable in Pop Art style~
colorful? i think so...
okay, let's have a look on some infromation about 'Pop Art' that i found on the internet____


"The term first appeared in Britain during the 1950s and referred to the interest of a number of artists in the images of mass media, advertising, comics and consumer products. The 1950s were a period of optimism in Britain following the end of war-time rationing, and a consumer boom took place. Influenced by the art seen in Eduardo Paolozzi's 1953 exhibition Parallel between Art and Life at the Institute for Contemporary Arts, and by American artists such as Jasper Johns and Robert Rauschenberg, British artists such as Richard Hamilton and the Independent Group aimed at broadening taste into more popular, less academic art. Hamilton helped organize the 'Man, Machine, and Motion' exhibition in 1955, and 'This is Tomorrow' with its landmark image Just What is it that makes today's home so different, so appealing? (1956). Pop Art therefore coincided with the youth and pop music phenomenon of the 1950s and '60s, and became very much a part of the image of fashionable, 'swinging' London. Peter Blake, for example, designed album covers for Elvis Presley and the Beatles and placed film stars such as Brigitte Bardot in his pictures in the same way that Warhol was immortalizing Marilyn Monroe in the USA. Pop art came in a number of waves, but all its adherents - Joe Trilson, Richard Smith, Peter Phillips, David Hockney and R.B. Kitaj - shared some interest in the urban, consumer, modern experience."



  
By Eduardo Paolozzi


By Roy Lichtenstein