In 1832-34, German scientist Prince Maximilian of Wied-Neuwied travelled the interior regions of North America to document what he regarded as vanishing cultures. Accompanying him was the twenty-two-year-old Swiss artist Karl Bodmer (1809-93), whom Maximilian employed to create a "faithful and vivid image" of America and its people. Bodmer's magnificent watercolor paintings and sketches from the expedition are famous; less known today are the resulting engravings and prints, which helped shape Europeans' impressions of Native Americans and of the United States. Upon their return to Europe, Maximilian began the difficult task of turning his field notes and journals into a readable account of his journey, while Bodmer concentrated on the equally complicated process of translating his drawings and watercolors into engravings to accompany the text.During the nearly ten-year effort it took to create "Travels in the Interior of North America, 1832-34", many of the eighty-one images underwent significant changes: Bodmer and his team of some thirty engravers altered landscapes and portraits based on Maximilian's input, modified imprecise inscriptions, and reengraved plates for future printings. "Karl Bodmer's North American Prints" is the first book to systematically and comprehensively document and interpret these changes to the prints. Each version - or state - is cataloged, discussed, and linked to one of the five distinct editions. Other issues, including coloring, paper, and dates, are examined. The two essays, eighty-one entries, and six appendixes contained in this volume elucidate all aspects of the project, with special attention to the number of legitimate and illegitimate reproductions the popular North American prints engendered and to Bodmer's post-expedition output as a printmaker.Brandon K. Ruud is a researcher at the Art Institute of Chicago and an independent editor; he previously served as the assistant curator at the Margre H. Durham Center for Western Studies at Joslyn Art Museum. Marsha V.Gallagher is the chief curator and Holland Curator of the Durham Center for Western Studies at Joslyn Art Museum. Ron Tyler is the director of the Texas State Historical Association and a professor of history at the University of Texas at Austin. J. Brooks Joyner is the director of Joslyn Art Museum.
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从纯粹的艺术史角度来看,Bodmer的构图技巧和对光影的运用无疑是那个时代顶尖水准的体现。那些关于洛矶山脉的风景画,尤其是对云层和远处山峰层次感的处理,展现了十九世纪浪漫主义风景画的成熟手法。他如何将那些广袤的、令人望而生畏的自然景观,用相对有限的画幅精确地捕捉下来,令人叹为观止。不过,我对其中一些肖像画的评价就没那么高了。虽然人物栩栩如生,但总感觉在描绘土著领袖时,他似乎刻意地去迎合欧洲观众对“高贵野蛮人”的想象,使得某些面部表情显得过于戏剧化和刻板。这让我想起维米尔(Vermeer)的光线魔术,Bodmer在自然光线的捕捉上功力深厚,但人性深度的挖掘上,似乎总隔着一层欧洲知识分子的滤镜,显得有些隔靴搔痒。
评分坦白说,我最初被这本书吸引,完全是冲着其蕴含的文化人类学价值去的。Bodmer的视角,虽然带着那个时代固有的局限性,但无疑为我们留下了无可替代的视觉档案。我特别关注了他对大平原苏族(Sioux)部落仪式的描绘,那些场景的复杂性和仪式感,即使在后来的文字记载中也往往被简化或浪漫化。这本书中的图像清晰地捕捉到了那种原始的庄严,比如马匹的装饰、舞者的面部彩绘,以及他们围绕篝火的群体动态,都展现出一种内在的秩序和深刻的信仰体系。然而,我必须指出,阅读时需要保持一种批判性的眼光——这些图像毕竟是“他者”的观察,其中不乏异域化的倾向。但这恰恰是研究早期欧洲对美洲土著认知如何形成的关键文本。它提供了一种视觉“第一手”资料,远比后期修饰过的照片更具历史的张力。
评分我购买这本书的目的之一,是想研究一下十九世纪早期美国西部探险的后勤保障是如何运作的。很遗憾,这本书几乎没有提供任何关于这次探险团队的日常运作、物资补给或者路线规划的细节信息。它完全聚焦于“视觉成果”,即那些被记录下来的风景和人物,但对于“如何抵达那里”以及“途中经历了什么艰难险阻”却语焉不详。我期待看到一些关于船只、马匹状态、食物匮乏、或者与当地居民进行交易的记录片段,哪怕是作者的私人手稿摘录也好。这本书更像是一本“官方”的、经过精心筛选的宣传画册,美化了探险过程,淡化了现实的残酷性。对于历史爱好者来说,这种对过程的缺失,使得这本书的价值大大降低,因为它只提供了结论性的美丽图像,而没有展现通往这些图像背后的汗水与挣扎。
评分这本书的装帧和印刷质量简直是艺术品级别的享受。厚实的纸张,带着一种令人愉悦的微哑光质感,将那些遥远的边疆风光和土著民族的面容,以一种近乎立体的沉浸感呈现在眼前。尤其值得称赞的是那些铜版画的细节还原度,墨色的深浅过渡,人物服饰上纹理的细微之处,都处理得极为精妙。我花了好几个小时,仅仅是对比原版画作与此书中的复刻品,几乎找不到任何瑕疵。那些关于早期探险家们的文字记录,虽然篇幅不长,但字里行间流露出的那种对未知世界的好奇与敬畏,清晰可见。这不仅仅是一本画册,更像是一次跨越时空的对话,让我仿佛能闻到密苏里河畔潮湿的泥土气息,感受到大平原上凛冽的风。对于任何一个珍视工艺美术和历史文献的收藏家来说,这本画册本身就具有极高的本体价值,光是抚摸封面那种精心挑选的皮革质感,就已经值回票价了。
评分这本书的编排设计简直是一场灾难,完全辜负了其中优秀内容的潜力。插图之间的切换毫无逻辑可言,上一页还是内华达山脉的雪景,下一页就跳到了密西西比河畔的皮毛贸易站,读者根本无法建立起地理或时间上的连续感。更别提那些冗长且枯燥的背景介绍文字了,它们更像是学术论文的脚注,堆砌了大量的日期和人名,却没有真正地引导读者去理解这些图像背后的社会和政治背景。我希望看到的是能将艺术、地理和民族志信息有机结合的叙事流线,而不是这种东拼西凑的感觉。买这本书,你得到的更像是一个被随机打乱的巨大幻灯片集合,而不是一本精心策划的旅行日志。对于初次接触Bodmer作品的读者来说,缺乏清晰的导览,很容易在海量信息中迷失方向,最终只是走马观花地翻完一遍。
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