托马斯·唐宁(Thomas Downing)高清作品《红色》

作品名：红色

艺术家：托马斯·唐宁

年代：1966

风格：欧普艺术

类型：抽象

红色包含36个轮廓清晰的圆，在从栗色到粉红色的光谱中，漂浮在无形网格系统中。唐宁在地板上工作，没有罗盘，用手画圆，用松节油稀释的快干液体将颜料浸泡在画布上。图案之间的细微空间差异和偶尔滴下的颜料是艺术家的手工的唯一证据。原始的画布在唐宁的色彩领域里扮演着重要的角色，因为它“无论多浓或多烈，都能保持光线和空气的颜色。”艺术家的点画因其光学效果——这些点看起来前进和后退——和精神和象征品质而受到赞扬。以圆的基本形式为基础。尽管《红色》有着丰富的联想，但它也体现了批评家克莱门特·格林伯格在他的理论写作中所提倡的开放性和清晰性，尽管它以一种轻松的语调来促进这种开放性和清晰性，这要归功于大胆地包括粉色的乐观的调色板。唐宁的作品被分类为硬边、极小或OP，是60年代最耀眼的图像之一。

Title:Red

artist:Thomas Downing

Date:1966

Style:Op Art

Genre:abstract

Red contains 36 crisply delineated circles, in a spectrum that flows from maroon to pink, floating in an invisible grid system. Working on the floor, Downing drew the circles freehand, without a compass, and used fast-drying Liquitex thinned with turpentine to soak the pigment onto the canvas. Slight spatial differences between the motifs and the occasional drip of pigment are the sole evidence of the artist’s handwork. Raw canvas played a substantive role in Downing’s color fields as it “kept light and air in the color no matter how dense or intense.” The artist’s dot paintings have been praised for their optical effects—the dots appear to advance and recede— and for their spiritual and symbolic qualities, based in the elemental form of the circle. However rich its associations, Red also embodies the openness and clarity that critic Clement Greenberg promoted in his theoretical writing, though it does so with a light-hearted tone, thanks to the upbeat palette that audaciously includes pink. Classified as Hard-Edge, Minimal or Op, Downing’s paintings are some of the more dazzling images of the sixties.