利用者:Lin Xiangru/sandbox/sub4
ジーン・ベレット | |
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生誕 |
1908年3月25日 オーストラリア、タスマニア州ホバート |
死没 |
1991年3月16日 (82歳没) スペイン、パルマ・デ・マヨルカ |
教育 | |
著名な実績 | 絵画 |
代表作 | |
受賞 |
サー・ジョン・サルマン賞 1942年 誰がために鐘は鳴る 1944年 タウリケのイピゲネイア |
ジーン・ベレット ( ジーン・ヘフリガー1908年3月25日 – 1991年3月16日) はオーストラリアの芸術家。タスマニアで生まれ、ホバートと、シドニーのジュリアン・アシュトンの美術学校で勉強した。その際の師の一人にシア・プロクターがいた。ロンドンでは、バーナード・メニンスキーやマーク・ジェルトレルの元で学んだ。
モダニズム画家であったベレットは、20世紀半ばのシドニー美術界に大きな影響を及ぼした。ベレットはエウリピデスやソポクレスなどのギリシア悲劇や、ホメロスの叙事詩から影響を受けた場面を頻繁に描いている。ベレットは1942年に「誰がために鐘は鳴る」で、1944年に「タウリケのイピゲネイア」で、サルマン賞を受賞しており、女性としては唯一複数回サルマン賞を受賞している。ブレーク賞の設立にも尽力し、その最初の審査員を務めた。ベレットは1935年に画家でのポール・ヘフリガーと結婚し、ヘフリガー夫妻は1957年にマヨルカ島へ移住した。その後、オーストラリアを訪れ展覧会を開いたことはあったが、再びオーストラリアに居住することはなく、オーストラリアの美術界ではあまり重要ではなくなった。
幼少期から結婚まで
編集1908年3月25日に、ベレットはホバートで、芸術家の母と郵便局長の父の間に生まれ、タスマニア州の田舎で一人っ子として育てられた[1]。当初はデロレインの地元の聖公会学校に通い、13歳でホバートの友会徒学校の寄宿生となってから、その後ホバートの技術大学に入学した[1][2][3]。
その後、シドニーのジュリアン・アシュトン美術学校に入学した。教師の一人にシア・プロクターがいて、同級生には画家のジョン・パスモアやQuinton Tidswellなどがいた。1934年の学生美術展に展示されたベレットの線描や水彩画は、シドニー・モーニング・ヘラルドの美術評論家から好評を得ている[4]。アシュトン美術学校で、ベレットはオーストラリア人画家のポール・ヘフリガーと出会い、1935年に結婚した。翌年、二人はヨーロッパを旅し、ベレットはパスモアと同じくウェストミンスター美術学校で学び、フィギュラティヴ画家のバーナード・メニンスカイやマーク・ジェルトレルに師事した[5][6]。1938年、ヘフリガー夫妻はパリのアカデミー・ドゥ・ラ・グランド・ショミエールで人体デッサンを学んだ[7]。
経歴
編集オーストラリア
編集ヘフリガー夫妻は第二次世界大戦が勃発する直前にオーストラリアへ戻った[1][5]。オーストラリアに戻るとまもなく、ベレットはシドニーのマッコーリー・ギャラリーで展覧会を開いた[8]。ヘフリガー夫妻は、ウィリアム・ドーベルやラッセル・ドライスデールなど当世風なモダニズム美術家のコミュニティであるシドニー・アート・グループ(the Sydney Art Group)の有力なメンバーとなった[9]。ベレットは絵を描いては、マッコーリー・ギャラリーで毎年グループ展を、2年ごとに個展を開催した。夫のヘフリガーは15年間にわたって、シドニー・モーニング・ヘラルドの美術評論家を務めた[1]。
1942年、ベレットは「誰がために鐘は鳴る」でサルマン賞を受賞した。1944年には再び、エウリピデスの悲劇「タウリケのイピゲネイア」から影響を受けた「タウリケのイピゲネイア」でサルマン賞を受賞した[10]。「タウリケのイピゲネイア」は乾燥し、開けた風景を背景に、馬にまたがる数人の騎手が描かれていて、そのいでたちは「古代ギリシャではなく、現代のオーストラリア」を彷彿とさせると評されている[11]。ベレットが応募した別の作品、ギリシャ悲劇で有名なイフィゲニアの妹・エーレクトラーを描いた『エレクトラ』を審査員は好んでいたが、サイズ規定を満たしていなかったため選出ができなかった。「タウリケのイピゲネイア」や「エレクトラ」などの作品は、1940年代にエウリピデス、ソポクレス、ホメロスなどの悲劇に影響を受けてベレットが制作したものであった。ベレットが選ぶ主題やアプローチは、当時主流のモダニズムとは相容れないものであり、古典性とオーストラリアの明らかな関連性を避けているようにも見える。空間の雰囲気を醸し出すために、空間的な配置やパレットを取捨選択することを好んでいたと推論されている[12]。ヨーロッパのモダニズム画家アリスティド・マイヨールやジョルジョ・デ・キリコ、イタリアのクワトロチェントの画家であるマサッチオやピエロ・デラ・フランチェスカなどから、ベレットは影響を受けていると評論家が指摘しており、実際にベレットはこのうちの複数の人物についての記事を雑誌「アート・イン・オーストラリア」に執筆している[12][13][14]。
ベレットの作品の最大の特徴に、古典的な主題を取り扱うことが挙げられる。1946年には、ベレットの作品は少なくとも4つの展覧会で展示されている[15][16][17][18]。当時の評論家は、ベレットの「ロマン主義の衝動性と古典主義の非衝動性の統合[17]やロマン主義かつ古典主義なアプローチ[18]を称賛している。ベレットの作風はおおむね肯定的な評価を得ているが、一部ベレットに対する懸念も表明されている。特に、ベレットは決まった表現方法に落ち着き、それを繰り返してしまう可能性があるのではないかと懸念されていた[17][19]。
Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends",[20] and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not.[21]
Though she did not again win the Sulman, she was successful in having works hung in that competition on many occasions, including the 1946, 1947, 1948 and 1950 shows.[22] Bellette continued to paint classical scenes, and around 1950 produced the work Chorus without Iphigenia. Purchased by the National Gallery of Australia in 1976, this oil painting shows five figures, "posed like statues in a tableau vivant, [and who] possess a kind of erotic energy".[13] Anne Gray, the National Gallery's curator, interpreted the scene chosen by Bellette:
Although nothing is happening in this image, we associate the figures with tragedy, with death and mourning – with the classical reference in the painting's title. Iphigenia, Agamemnon's daughter, gave her life for her country when the goddess Artemis asked for it in exchange for favourable winds so that the Greek ships could sail to Troy. Bellette's melancholic painting might be supposed to portray Iphigenia's friends mourning her death.[13]
In 1951, Bellette came second in the Commonwealth Jubilee Art Competition, behind the young Jeffrey Smart.[23] The following year, she won a competitive exhibition sponsored by Metro Goldwyn Mayer, with Girl With Still Life.[24]
Although Haefliger never critiqued his wife's exhibitions,[1] others occasionally stepped in to provide reviews in the Herald. Describing her 1950 exhibition at the Macquarie Galleries, one critic considered it "one of the most stimulating and refreshing that has been seen here for a long time" and that "She paints with a strong, sombre palette and her forms are sculptured with great decision. She uses paint sensuously and passionately, as paint, not as so many contemporary Australians do, as mere colour".[25]
Two years later, the same reviewer, attending another of the artist's solo Sydney shows, observed that Bellette:
is one of the few Australian artists here who combines a firm technique with a sensitive and rich emotion. In some of the lighter landscapes in this exhibition, Miss Bellette seems to have been trying to solve some of the particular difficulties of painting Australian landscapes. The clear, strong light tends to flatten the form and bleach the colour; a problem that doesn't lend itself to the dramatic tensions and dark moods that are characteristic of her work. It requires a colder and more dispassionate approach. But when she finds landscapes to her taste, such as the rugged hills and beetling clouds in No. 8, the earth decaying with erosion in No. 19, or the prickly desolation of "Rough Country", No. 14, she handles them with great skill and effectiveness. Her figure drawings are decisively drawn and firmly modelled. The girls have a pensive dignity as though they are pondering the burdens and joylessness of a future to be spent as caryatids. The still lives and the interior are admirable exercises in formal organisation, the colours being sombre yet rich.[26][notes 1]
Around this time, Bellette also held a show in Melbourne, which included some black-and-white landscape studies as well as some of her classical Greek subjects. Arnold Shore, art critic for The Argus, drew a contrast between the two groups of works. He thought that one of the landscapes "sets the heart singing with its lovely tone, pattern and sense of place". Continuing, he noted that the landscapes and some other works "attain at their best a standard only vaguely suggested when the painter concerned herself too much with striving after a new treatment of ancient Grecian ideals."[27]
Paintings by Bellette were among those of twelve Australian artists included in the 1953 Arts Council of Great Britain exhibition in London, five regional British cities, and at the Venice Biennale. Bellette was one of only two women represented, the other being Constance Stokes.[5][28][29] As with her Sulman prize-winners, Bellette's subjects were classically themed works: Electra (1944) and Oedipus (1945). Arts Council chairman Kenneth Clark was disappointed with the response of British critics to the exhibition, and their focus on a theme of nationhood paid little regard to the works of Bellette and several others.[30]
As well as spending time in Sydney's art community, in 1954 Haefliger and Bellette purchased a cottage in Hill End, an old gold mining village in central New South Wales. They added a studio, and the site became both a weekender and a venue for social visits and artistic endeavours by colleagues from the Sydney circle, including Drysdale, Margaret Olley, John Olsen, David Edgar Strachan and Donald Friend.[13][31] This gathering of artists, sometimes referred to as the Hill End Group, is known for its landscape art. Bellette, though sometimes a painter of landscapes, was known for her classical subjects and still lifes, which critics struggled to accommodate within their understanding of the Hill End Group.[32] Nevertheless, several still lifes from this period are held in public collections, including Still Life with Fish (1954), in the Tasmanian Museum and Art Gallery,[3] and Still life with wooden bowl (c. 1954), in the Art Gallery of New South Wales.[33] These images were often rendered with strong colour,[3] which was also sometimes a feature of earlier works on which critics would remark.[17][34]
Both Bellette and Haefliger had for many years been informal organisers of Sydney's artistic community.[35] In 1955, Bellette helped found the Blake Prize for religious art, and was its inaugural judge.[36]
マヨルカ
編集In 1957, Haefliger's extramarital affair, which had lasted for over a decade, came to an end.[37] Bellette and Haefliger left Australia intending to divorce quietly, but were reconciled. After a year in Paris they settled in Majorca, living first in Deià before buying a house in the hamlet of C'an Baxu.[38] Bellette painted landscapes and still lifes that reflected a Spanish influence, exemplified by Spells for Planting (1964). This work was acquired by the Art Gallery of New South Wales in the year it was exhibited in Melbourne,[39] one of a number of shows in which Bellette participated in Australia through the 1960s.[5] The year she moved to Majorca turned out to be the last year in which she exhibited work outside Australia.[40] The couple visited in 1970 and 1975, and Bellette returned once more in 1983.[41] Bellette had become an "onlooker" to the local art scene.[1] This was in part because of a transition in Australian art that included the rise of abstract expressionism, the strong influence of a small number of gallery owners, and discrimination against women that reached "record levels".[40] Bellette was nevertheless able to secure some exhibitions in Sydney and Melbourne.[41] These infrequent exhibitions were received very positively by critics. When her work was hung at the South Yarra Gallery in 1964, noted art historian and critic Bernard Smith stated in his review for The Age that he "could not recall an exhibition in Melbourne of this quality since I began to write this column."[42] Reviewing her 1966 show in Sydney, the Herald critic considered it was her "ability to combine the calm beauty of form of her beloved classicism of content with a dark romantic spirit that has gained her such an honourable place in Australian painting...the antiquity of nature and man's constructions are explored with a subtle, powerful inquiry."[43] In 1971, Melbourne critic Alan McCulloch considered her classical compositions to be her most successful. Drawing parallels between classical tragedy and contemporary global refugee crises, he noted "there is infinite tenderness in these paintings and infinite sadness. For although these rocky, shadowed landscapes are peopled with the ghosts and shades of an ancient civilisation, they are also curiously symbolic of present day tensions and tragedies."[44]
Bellette and Haefliger lived and worked for the rest of their lives in Majorca,[1][9] with periodic trips to Italy. Friends such as artists Jeffrey Smart and John Olsen visited them regularly in Europe. An injury to her wrist meant that paintings prepared in 1976 for a solo exhibition were her last. Haefliger died in March 1982; Bellette survived breast cancer and a mastectomy in 1986 and died on 16 March 1991.[1][5]
偉業
編集Prior to her death, Bellette bequeathed the Hill End cottage to the National Parks and Wildlife Service (which manages the Hill End historic site), on condition that it be used as an artists' retreat. It continues to operate for that purpose.[45] As of 2016, Bellette is the only woman to have won the Sulman Prize on more than one occasion.[10] A large number of her works are held by the Art Gallery of New South Wales;[46] other galleries that hold examples include Bathurst Regional Art Gallery, the Art Gallery of South Australia, Art Gallery of Western Australia, Bendigo Art Gallery, Geelong Art Gallery,[5] the National Gallery of Australia,[47] and the Tasmanian Museum and Art Gallery.[3] In 2004–05, a major retrospective exhibition was held at Bathurst Regional Art Gallery, the S. H. Ervin Gallery in Sydney, the University of Queensland Art Museum, Mornington Peninsula Regional Gallery and the Drill Hall Gallery in Canberra.[48]
Described by Amanda Beresford as Australia's "only true modern classicist",[49] Bellette is generally regarded as an influential figure in the modern art movement in Sydney in the mid-twentieth century. Art historian Janine Burke described Bellette as "a leader of the post-war art world",[14] and the University of Queensland Art Museum's curator placed her as "a seminal figure in the visual arts from the 1930s until her death in Majorca in 1991".[50] Of her paintings, opinions vary. Burke described her as "arguably the best painter" of the Sydney circle.[51] Historian Geoffrey Dutton was unconvinced about her choice of subject but praised Bellette's "assured if muted" style, while dismissing the lesser efforts of her husband.[52] Art historian and writer Sasha Grishin had a different view. Commenting on Bellette's paintings of Greek mythological subjects created in the 1940s, he wrote, "they were neither very convincing as paintings, nor works that had a particular resonance in Sydney or Australian art at the time".[9] John Passmore and Bellette studied together both in Australia and England, travelled in Europe, and exhibited side by side in group shows.[53][7][54] He was highly critical of Bellette's work, while Yvonne Audette, who went to a few of the artist's drawing classes, described her classical works as "dull poses, and very badly drawn, and even more badly painted, like clumsy colouring-in".[55]
脚注
編集注釈
編集出典
編集- ^ a b c d e f g h Hall 1995, p. 310.
- ^ France 2004a, p. 11.
- ^ a b c d Hodgson, Shirley (2006年). “Jean Bellette”. The Companion to Tasmanian History. Centre for Tasmanian Historical Studies. 2014年5月18日閲覧。
- ^ “Sydney Art School”. The Sydney Morning Herald (New South Wales): p. 5. (1934年9月25日) 2014年5月29日閲覧。
- ^ a b c d e f Germaine 1991, p. 31.
- ^ France 2004a, p. 12.
- ^ a b France 2004a, p. 14.
- ^ “Two young artists abroad”. The Sydney Morning Herald (New South Wales): p. 18. (1939年9月28日) 2014年6月29日閲覧。
- ^ a b c Grishin 2013, p. 312.
- ^ a b “Sir John Sulman Prize”. Art Gallery of New South Wales. 2014年5月18日閲覧。
- ^ Hall 2013, p. 285.
- ^ a b Edwards 1995, p. 238.
- ^ a b c d Gray, Anne (2010年). “Jean Bellette – Chorus without Iphigenia (c. 1950)”. Collection search. National Gallery of Australia. 2014年6月8日閲覧。
- ^ a b Burke 1980, p. 72.
- ^ “Picture frames suffer from transport handling”. The Canberra Times: p. 3. (1946年10月17日) 2014年7月1日閲覧。
- ^ McCulloch, Alan (1946年4月2日). “Four art exhibitions”. The Argus (Melbourne): p. 8 2014年7月1日閲覧。
- ^ a b c d J. G. (1946年11月13日). “Sensitive drawings”. The Sydney Morning Herald: p. 5 2014年7月1日閲覧。
- ^ a b Francis, Ivor (1946年7月27日). “New pictures bought for gallery”. The News (Adelaide): p. 3 2014年7月1日閲覧。
- ^ “Art. Sydney Group”. Catholic Weekly (Sydney): p. 8. (1945年8月30日) 2014年7月1日閲覧。
- ^ “Australian Artists' Intriguing Designs”. The Examiner (Launceston, Tasmania): p. 5. (1947年10月21日) 2014年7月1日閲覧。
- ^ “S.U.D.S. Plays Miss The Target”. The Sydney Morning Herald: p. 2. (1948年9月13日) 2014年7月1日閲覧。
- ^ France 2004b, p. 75.
- ^ “£500 Art Prize Awarded.”. The Sydney Morning Herald: p. 1. (1951年8月18日) 2014年5月29日閲覧。
- ^ “M.G.M. art contest”. The Canberra Times: p. 4. (1952年5月29日) 2014年5月29日閲覧。
- ^ “One-man Show By Jean Bellette”. The Sydney Morning Herald: p. 2. (1950年3月8日) 2014年5月29日閲覧。
- ^ “Drawings By Jean Bellette.”. The Sydney Morning Herald: p. 7. (1952年3月20日) 2014年5月29日閲覧。
- ^ “Display "reveals" an artist”. The Argus (Melbourne): p. 11. (1952年5月20日) 2014年6月29日閲覧。
- ^ Summers 2009, p. 138.
- ^ “Australian art display abroad”. The Sydney Morning Herald: p. 1. (1953年4月11日) 2012年10月8日閲覧。
- ^ Pierse 2012, pp. 44–45.
- ^ Thorp, Wendy (2008). Archaeological Investigation. Haefliger's Cottage, Hill End. National Parks and Wildlife Service, Department of Environment and Climate Change. p. 13. doi:10.4227/11/50459F7BD4D0B
- ^ Lawson, Amanda (2005). “A Speculative Venture: Contemporary Art, History and Hill End”. Kunapipi 27 (1): 142 .
- ^ Bellette, Jean (1954年). “Still life with wooden bowl”. Collection search. Art Gallery of New South Wales. 2014年6月25日閲覧。
- ^ “Sydney art show is "stimulating".”. The Courier-Mail (Brisbane): p. 5. (1950年11月14日) 2014年7月1日閲覧。
- ^ France 2004a, pp. 14–17.
- ^ France 2004a, p. 21.
- ^ Klepac, Lou (June 2012). “Two Expatriates in Europe”. The National Library Magazine 4 (2): 13 .
- ^ Hall 2004, p. 61.
- ^ “Spells for Planting by Jean Bellette”. Art Gallery of New South Wales – Collection. 2020年8月16日閲覧。
- ^ a b Hall 2004, p. 59.
- ^ a b Hall 2004, p. 64.
- ^ Smith, Bernard (1964年8月19日). “Paintings to Rouse Spirit of All”. The Age (Melbourne)
- ^ Thornton, Wallace (1966年4月13日). “Art: blend of then and now”. The Sydney Morning Herald: pp. 18
- ^ McCulloch, Alan (1971年6月9日). “From the sublime to the ridiculous”. The Herald (Melbourne): pp. 27
- ^ “Haefligers Cottage”. Bathurst Regional Art Gallery. Bathurst Regional Council. 2014年6月29日時点のオリジナルよりアーカイブ。2014年6月22日閲覧。
- ^ “Jean Bellette”. Collection search. Art Gallery of New South Wales. 2014年5月18日閲覧。
- ^ Bellette, Jean (c. 1950). “Girl's Head”. Collection search. National Gallery of Australia. 2014年5月18日閲覧。
- ^ France 2004c, p. 2.
- ^ Beresford 2004, p. 69.
- ^ France, Christine (2004年). “Jean Bellette Retrospective”. University of Queensland Art Museum. 2014年7月14日時点のオリジナルよりアーカイブ。2014年5月18日閲覧。
- ^ Burke 1980, p. 71.
- ^ Dutton 1986, p. 107.
- ^ Grishin 2005, p. 20.
- ^ “Sydney Group Art in D.J's gallery”. The Sun-Herald (Sydney): p. 15. (1951年7月1日) 2014年6月29日閲覧。
- ^ Heathcote 2003, p. 37.
参考文献
編集- Beresford, Amanda (2004). “Classicism and myth in Jean Bellette's work”. In France, Christine. Jean Bellette: Retrospective. New South Wales: National Trust of Australia. pp. 66–69. ISBN 0-9577657-5-4
- Burke, Janine (1980). Australian Women Artists 1840–1940. Richmond, Victoria: Greenhouse Publications. ISBN 0-909104-30-1
- Dutton, Geoffrey (1986). The Innovators: The Sydney Alternatives in the Rise of Modern Art, Literature and Ideas. Melbourne: Macmillan Australia. ISBN 978-0-333-41473-6
- Edwards, Deborah (1995). “Jean Bellette – Electra (1944)”. In Kerr, Joan; Callaway, Anita. Heritage: The National Women's Art Book. Roseville East, New South Wales: G + B Arts International / Craftsman House. pp. 238–239. ISBN 976-641-045-3
- France, Christine (2004a). “Jean Bellette: Early life and times”. In France, Christine. Jean Bellette: Retrospective. New South Wales: National Trust of Australia. pp. 10–23. ISBN 0-9577657-5-4
- France, Christine (2004b). “Exhibition history”. In France, Christine. Jean Bellette: Retrospective. New South Wales: National Trust of Australia. pp. 74–77. ISBN 0-9577657-5-4
- France, Christine, ed (2004c). Jean Bellette: Retrospective. New South Wales: National Trust of Australia. ISBN 0-9577657-5-4
- Germaine, Max (1991). A Dictionary of Women Artists of Australia. Roseville East, New South Wales: Craftsman House. ISBN 976-8097-13-2
- Grishin, Sasha (2005). The art of Grahame King. South Yarra, Victoria: Macmillan Art Publishing. ISBN 978-1-876832-59-9
- Grishin, Sasha (2013). Australian Art: A History. Carlton, Victoria: The Miegunyah Press. ISBN 978-0-522-85652-1
- Hall, Barbara (1995). “Bellette, Jean”. In Kerr, Joan; Callaway, Anita. Heritage: The National Women's Art Book. Roseville East, New South Wales: G + B Arts International / Craftsman House. pp. 310–311. ISBN 976-641-045-3
- Hall, Barbara (2004). “Expatriate years: 1957–1991”. In France, Christine. Jean Bellette: Retrospective. New South Wales: National Trust of Australia. pp. 58–65. ISBN 0-9577657-5-4
- Hall, Edith (2013). Adventures with Iphigenia in Tauris: A Cultural History of Euripides' Black Sea Tragedy. Oxford: Oxford University Press. ISBN 978-0-19-539289-0
- Heathcote, Christopher (2003). Yvonne Audette: Paintings and Drawings 1949–2003. Melbourne: Macmillan Education. ISBN 978-1-876832-79-7
- Pierse, Simon (2012). Australian Art and Artists in London, 1950–1965: An Antipodean Summer. Farnham, Surrey: Ashgate Publishing. ISBN 978-1-4094-2054-5
- Summers, Anne (2009). The Lost Mother: A Story of Art and Love. Melbourne: Melbourne University Press. ISBN 978-0-522-85635-4