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A Historical Perspective on the Evolution of British and American Art in the 18th, 19th, and 20th Centuries
18 世纪、19 世纪和 20 世纪英美艺术演变的历史视角
After Palmer: A Pastoral Miscellany
帕尔默之后：田园杂记After Palmer: A Pastoral Miscellany
帕尔默之后：田园杂记
Trained originally as an art historian, sculptress and graphic illustrator at St. Martin’s and at Cambridge, Julia Korner,
Julia Korner 最初在圣马丁学院和剑桥大学接受艺术史学家、雕塑家和图形插画师的培训，
L.S.I.A.D., left Christie’s auctioneers in 1997 after nearly 20 years in the field as a paintings specialist, with extensive
L.S.I.A.D. 于 1997 年离开佳士得拍卖行，此前他作为绘画专家在该领域工作了近 20 年，拥有广泛的
knowledge of Old Masters, of British and Victorian and of European and American paintings of the 18th, 19th and 20th
了解古典大师、英国和维多利亚时代以及 18 世纪、19 世纪和 20 世纪的欧洲和美国绘画
Century. In 1987 she set up the Maritime Department, the Frame sales, the Aeronautical Department and finally the
世纪。1987 年，她成立了海事部、Frame 销售部、航空部，最后是
Polar Sales and Exploration & Travel.
极地销售和探索与旅行。
At the same time, she was involved in the conservation of paintings, and the production and conservation of classic
同时，她还参与了绘画的修复工作，以及经典的生产和修复工作
gilt and gesso frames and sculpture, all in her own studios. She set up her own business in 1997 to assist clients with
镀金和石膏框架和雕塑，都在她自己的工作室里。她于 1997 年创办了自己的企业，以协助客户
all aspects of their collections. She also advises museums and private clients on conservation.
他们收藏的所有方面。她还为博物馆和私人客户提供保护方面的建议。
She lectures for NADFAS, Christie’s Education, The Sotheby’s Institute, The National Maritime Museum and to Art
她为 NADFAS、佳士得美术学院、苏富比研究所、国家海事博物馆和艺术学院授课
Societies and has acted as a valuer for antiques’ road shows both at home and abroad. Julia Korner is an elected member
社团，并担任国内外古董路演的估价师。Julia Korner 是民选成员
of the British Antique Dealers’ Association and LAPADA - the Association of Professional Art and Antiques Dealers;
英国古董商协会和 LAPADA - 专业艺术和古董商协会;
the British Association of Paintings Conservator-Restorers, the Company of Arts Scholars, Dealers and Collectors, the
英国绘画修复师协会 （British Association of Paintings Conservator-Restorers）、艺术学者、经销商和收藏家公司 （Company of Arts Scholars， Dealers and Collectors）、
Institute of Conservation, the International Institute for Conservation, the Fine Art Trade Guild, the Maritime
保护研究所、国际保护研究所、美术贸易协会、海事
Information Association, the Museums Association, and the Conservation Consortium
信息协会、博物馆协会和保护联盟
Cover illustration: 封面插图： No. 7. Samuel Palmer, R.W.S (1805-1881), ‘The Forester’s Horn’ “森林人的号角”
Fine Art Consultant, Maritime Specialist & Lecturer
Conservation of Paintings, Frames and Sculpture
绘画、画框和雕塑的修复
After Palmer: A Pastoral Miscellany
帕尔默之后：田园杂记
Julia Korner
The River House, 52 Strand on the Green, London W4 3PD, United Kingdom (By appointment only)
The River House， 52 Strand on the Green， 伦敦 W4 3PD， 英国 （仅限预约）
Tel: +44 (0)20 8747 1652 Mob: 07771 713980 Fax: +44 (0)20 8742 7419
E-mail: julia@juliakorner.com www.juliakorner.com
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A RT I S T S ’ I N D E X
1 Joshua Cristall, P.O.W.S. (1767-1847)
2-3 David Cox, Sen., O.W.S. (1783-1859)
4-6 John Varley, O.W.S. (1778-1843)
7 Samuel Palmer, R.W.S. (1805-1881)
8-9 Albert Goodwin, R.W.S. (1845-1932)
10 Thomas Beaumont Walpole Champneys (1879-1961)
11 Thomas Saunders Nash (1891-1968)
12 Gilbert Spencer, R.A., R.W.S. (1892-1979)
13 John Northcote Nash, R.A. (1893-1977)
14 Ernst Michael Dinkel, R.S.W., A.R.C.A., (1894-1983)
15-16 James Alderson Simpson (1856-1948)
詹姆斯·奥尔德森·辛普森 （1856-1948）
17 Orlando Greenwood (1892-1989)
奥兰多·格林伍德 （1892-1989）
18 Edward Bawden, R.A. (1903-1989)
19 Edward Jeffrey Irving Ardizzone, C.B.E. (1900-1979)
20-22 Michael Rothenstein, R.A. (1908-1993)
迈克尔·罗滕斯坦 （1908-1993）
23-24 Francis John Minton (1917-1957)
25 Michael Ayrton (1921-1975)
26 Ada Elizabeth Edith (“Betty”) Swanwick, R.A., R.W.S. (1915-1989)
艾达·伊丽莎白·伊迪丝·斯旺维克 （“Betty”） Swanwick， R.A.， R.W.S. （1915-1989）
27-28 Brian (“Beak”) Adams (1923-2011)
29 Sir Sidney Robert Nolan, O.M., R.A. (1917-1992)
30 James Morrison, R.S.A., R.S.W. (born 1932)
32 Keith McIntyre (born 1958)
33 John Byrne, R.S.A. (born 1940)
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28. Brian lemesle Adams (1923-2011)
Loading China Clay, Par Harbour, Cornwall
正在加载 China Clay， Par Harbour， 康沃尔郡
watercolour
15 ¾ x 19 ¾ in. (40 x 50 cm.)
PROVENANCE:
Brian Lemesle Adams, Open Studio, June, 1990
Brian Lemesle Adams，Open Studio，1990 年 6 月
Please see 请参阅 No. 27 on the preceding page for the biography of this artist
在这位艺术家的传记的前一页
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66
29. Sir Sidney Robert Nolan, o.M., R.A. (1917-1992)
Abstract Landscape 抽象景观
signed with the initial 签名的 ‘N’ (centre left), signed, inscribed and dated
、签名、题词和日期 ‘Nolan. 1958. No. 8 Landscape’,
“诺兰。1958. No. 8 风景'， verso
textile dye on coated paper
10 x 12 in. (25 x 30 cm.)
Nolan was one of Australia’s most important painters and printmakers. Born in Melbourne, he left school at the age of
诺兰是澳大利亚最重要的画家和版画家之一。他出生于墨尔本，在
fourteen when he enrolled at the Prahran Technical College (now part of Swinburne University), Department of Design and
14 岁时，他就读于 Prahran 技术学院（现为斯威本大学的一部分）、设计系和
Crafts, in a course which he had already begun part-time by correspondence. For the next six years he worked for a company
手工艺品，他已经通过函授兼职开始了这门课程。在接下来的六年里，他在一家公司工作
and produced advertising and display stands with spray paints and dyes before attending night classes, in 1934, at the National
并在 1934 年参加国家夜校之前用喷漆和染料制作广告和展示架
Gallery of Victoria Art School.
维多利亚艺术学院画廊。
He never relied upon one style or technique but rather experimented throughout his lifetime with different methods of
他从不依赖一种风格或技术，而是在他的一生中尝试不同的方法
application, and also devised some of his own. He recreated, on a variety of materials and in his own idiosyncratic style, features
应用程序，并且还设计了一些自己的应用程序。他用各种材料和自己独特的风格重新创造了特征
of the Australian landscape and his love of literature is reflected also in his work. Nolan’s great mentors were Cézanne, Picasso,
澳大利亚风景和他对文学的热爱也反映在他的作品中。诺兰的伟大导师是塞尚、毕加索、
Matisse and Rousseau and thus, in 1951, he moved to London and from there travelled and worked his way across Europe. In
马蒂斯和卢梭，因此，在 1951 年，他搬到了伦敦，从那里开始在欧洲各地旅行和工作。在
1965 he completed a large mural depicting the 1854
1965 年，他完成了一幅描绘 1854 年的大型壁画 Eureka Stockade 尤里卡寨子, rendered in enamelled jewellery on 1.5 tonnes of heavy gauge
，以 1.5 吨重的珐琅珠宝呈现
copper. Nolan employed the “finger and thumb” drawing technique of the Indigenous Australian sandpainters to recreate the
铜。诺兰采用了澳大利亚土著沙画家的“手指和拇指”绘画技术来重现
panoramic scene. The mural is in the Reserve Bank of Australia, Melbourne.
全景场景。这幅壁画收藏在墨尔本的澳大利亚储备银行。
Throughout his career he had a long association with the theatre and the ballet working in collaboration with Benjamin
在他的整个职业生涯中，他与剧院和芭蕾舞团有着长期的联系，并与本杰明合作
Britten, Robert Helpmann and the French ballet dancer Serge Lifar. In 1981 he was appointed a Knight Bachelor and received
布里顿、罗伯特·赫尔普曼和法国芭蕾舞演员塞尔日·利法尔。1981 年，他被任命为骑士学士，并获得了
the Order of Merit, in 1983. The Sidney Nolan Trust was established in 1985 to support artists and musicians. He was made
1983 年获得功绩勋章。Sidney Nolan Trust 成立于 1985 年，旨在支持艺术家和音乐家。他被造了
a Companion of the Order of Australia, in 1988 and elected an honorary member of the American Academy of Arts and Letters
1988 年被授予澳大利亚勋章，并被选为美国艺术与文学学院荣誉会员
and a Member of The Royal Academy of Arts, London
以及伦敦皇家艺术学院的成员
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29
68
30. James Morrison, R.S.A., R.S.W. (born 1932)
‘Dunes’
signed and dated 签名并注明日期 ‘Morrison 1969’ and signed and inscribed 并签名和题词 ‘James Morrison/ ‘Dunes’ on the backing board, 在背板上，
pencil, ink, wash and bodycolour
7 ½ x 22 ¾ in. (19 x 57.8 cm.)
Morrison studied at the Glasgow School of Art from 1950-54, before moving to Montrose and joining the staff at the Duncan
莫里森于 1950-54 年在格拉斯哥艺术学院学习，然后搬到蒙特罗斯并加入邓肯博物馆
of Jordanstone College of Art, Dundee in 1965. He left Dundee in 1987 to take an extended painting trip to Canada and to
1965 年在邓迪乔丹斯通艺术学院。他于 1987 年离开邓迪，前往加拿大进行了一次长时间的绘画之旅，并
pursue a full-time career as a writer and presenter of art programmes, a career which he combined with his passion for
他从事作家和艺术节目主持人的全职职业，他将这份职业与他的热情相结合
painting. He is a true landscape painter and he draws his inspiration from the lush, farmland around his home in Angus and
画。他是一位真正的风景画家，他的灵感来自他在安格斯的家周围郁郁葱葱的农田，并且
from the rugged wildness of west coast Assynt, Scotland. His paintings are of real places and his practice is to work out of
来自苏格兰西海岸阿辛特崎岖荒野。他的画作是真实的地方，他的实践是在
doors, rapidly, and to use thinned oil paint and boards prepared with a non-absorbent ground. This enables him to capture
门，迅速，并使用稀释的油漆和用不吸水的地面准备的木板。这使他能够捕捉
the transitory nature of his subject with the marks made by his brush becoming patters of the earth, so strong is his hand.
他的主题是短暂的，他的画笔留下的痕迹变成了大地的拍打物，他的手是如此有力。
He exhibits his work annually both in Scotland and London.
他每年都会在苏格兰和伦敦展出他的作品。
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诺兰的音画美学

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整理答案

诺兰的音画美学主要体现在其电影作品中，通过独特的音效设计和视觉表现手法，创造出一种沉浸式的观影体验。诺兰在电影中的声音设计追求一种“印象派”风格，将对话处理为音效的一部分，以增强影片的情感冲击力。他的长期合作声设计师理查德·金（Richard King）描述诺兰试图创造一种全身心的情感体验，而不仅仅是智力上的理解。他希望观众能够被紧紧抓住，并被拉向银幕，而不是被动地观看电影。

此外，诺兰的电影常常因其难以理解的对话和极端的音量设置而受到批评，但诺兰本人坚持这种设计是为了营造一种“电影体验”，即让观众在情感上与影片产生共鸣。这种设计理念使得他的电影不仅仅是视觉上的享受，更是一种全方位的感官体验。

综上所述，诺兰的音画美学在于其对声音和画面的综合运用，通过创新的声音设计和视觉表现手法，为观众提供了一种深刻且全面的观影体验。

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