威廉·巴齐茨(William Baziotes)高清作品《水生动物》

作品名：水生动物

艺术家：威廉·巴齐茨

年代：1961

风格：抽象表现主义

类型：抽象

介质：油画

尺寸：167.6 X 198.4厘米

收藏：所罗门古根海姆博物馆，纽约市，纽约，美国

巴兹奥德斯与纽约学派的其他艺术家对自然界有着强烈的兴趣，他们同时受到对原始真理的探索和对科学探索的迷恋的驱使。连接这两项乌托邦式研究的是显微镜，它揭示的无形世界的变化形式有望揭示生命的起源。这种对识别有机领域的形而上学特征的关注可能照亮了巴兹奥特对海洋意象的偏好，如在《水族》（1961）中所展示的，一幅蛇形的画在平静的水世界中游动。海洋的象征性的可能性是巨大的，而拜占庭则具有许多含义。水已被解释为艺术家的浪漫的海洋视觉的表达作为一个共生关系的领域。艺术家被鳗鱼的交配行为迷住了，它们在海洋中游泳，很少接触，但总是在一起。图中细微交织的线条被认为代表了这些忠实的鳗鱼在水深航行的轨迹。（Nancy Spector）

Title:Aquatic

artist:William Baziotes

Date:1961

Style:Abstract Expressionism

Genre:abstract

Media:oil

Dimensions:167.6 x 198.4 cm

Location:Solomon R. Guggenheim Museum, New York City, NY, US

Baziotes shared his keen interest in nature with other artists of the New York School, who were motivated simultaneously by their search for primordial truths and their fascination with scientific inquiry. What bridged these two utopian investigations was the microscope; the invisible world of protean forms it revealed promised to disclose the origins of life. This preoccupation with identifying metaphysical features of the organic realm may illuminate Baziotess predilection for marine imagery, as demonstrated in Aquatic (1961), a painting of serpentine forms swimming through a calm, watery world. The symbolic possibilities of the ocean are vast and Baziotes drew on many of its meanings. Aquatic has been interpreted as an expression of the artists romantic vision of the sea as a domain of symbiotic relationships. The artist was captivated by the mating practice of eels, which swim through the ocean, rarely touching but always together. The delicately intertwined lines in the picture have been thought to represent these faithful eels on their course through the watery depths. (Nancy Spector)