Scribner Ames
 Scribner Ames | |
|---|---|
| Rayuwa | |
| Haihuwa | Chicago, 16 ga Faburairu, 1908 |
| ƙasa | Tarayyar Amurka |
| Mutuwa | 28 Disamba 1993 |
| Sana'a | |
| Sana'a |
painter (en)  |
| Sunan mahaifi | Ames, Polly Scribner |
Scribner Ames (1908 – 1993) yar wasan kwaikwayo Ba'amurke ce da aka sani da zane-zane da sassaka. Hotunanta sun haɗa da hotuna, har yanzu rayuwa, shimfidar wurare, da abstractions. Mazajen hotunanta sau da yawa yara ne ko kuma sanannun maza da mata a fagen wasan kwaikwayo. Haihuwa kuma ta girma a Chicago, ta fara aiki a Manhattan sannan ta koma garin haihuwarta. Ta kuma yi tafiye-tafiye akai-akai zuwa Turai da, sau ɗaya, zuwa yammacin Indies. Ko da yake ta sha'awar aikin Cézanne, Braque, da Marsden Hartley, zanenta ya kasance, kamar yadda wani mai sukar ya ce, "ba mai ƙima ba". Masu sukar sun lura da yadda ta yi amfani da launi mai tasiri kuma ɗayan ya ce "an lura da ita musamman don aikinta na ƙirƙirar motsi ta sararin samaniya ta hanyar amfani da hangen nesa." A cikin zane-zanen itace da aka sassaƙa, masu sukar sun lura da tasirin malaminta, José de Creeft .
Mai ba da shawara ga ci gaban ilimi, Ames ta koyar da fasaha na shekaru da yawa a cikin makaranta mai zaman kansa da kuma a cikin ɗakinta. Marubuciya ce, kodayake wallafe-wallafenta kaɗan ne. Ta rubuta kuma ta kwatanta wani littafi mai suna Marsden Hartley a Maine kuma ta rubuta labaran mujallu da wasiƙu ga edita akan ilimin fasaha, abstraction a art, da kuma mummunan hali na masu tarawa da wuraren kasuwanci don inganta fasaha mara kyau.
Rayuwar farko da horo
[gyara sashe | gyara masomin]Ames ya halarci makarantu a Chicago. Ta shiga aji na farko na Jami'ar Chicago a shekarar 1923 kuma ta kammala karatun digiri na farko na Falsafa a shekarar 1928. [2] Bayan kammala karatun, ta yi karatu a Makarantar Cibiyar Fasaha ta Chicago sannan ta yi tafiya a Turai, inda ta yi karatun sassaka a Munich tare da Hans Schwegerle . Komawa Amurka a shekarar 1933, ta yi gidanta a Manhattan kuma a can ta yi karatun zane tare da Hans Hofmann da sassaka tare da José de Creeft .
Sana'a a cikin fasaha
[gyara sashe | gyara masomin]
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Ames ya nuna har yanzu rayuwa a cikin nunin Society of Independent Artists na shekarar 1935 na shekara-shekara. Lura da cewa zanen nata ya kasance "mai ban sha'awa kuma mai ban sha'awa", wata mai sukar ta yaba da yadda ake amfani da launi "musamman". Binciken bai ambaci sunan zanen ba. "Har yanzu Rayuwa #2", wanda aka nuna a sama, lamba 1, misali ne na aikinta na rayuwa a lokacin. A shekara ta gaba, wata mai sukar Labaran Fasaha ta yi la'akari da wani zane nata mai suna "Kyauta" a wurin nunin Salon na Amurka, yana mai cewa an sanya shi "a matsayin daya daga cikin manyan hotuna" a cikin wannan babban nunin. Bugu da ƙari, bita na masu sukar, mujallar ta haɗa da hoton zanen (wanda aka nuna a sama, no. 2).
Ta shafe lokacin rani na 1938 yana tafiya a Scandinavia. Bayan shekara guda, an ba ta baje kolin solo dinta na farko, nunin zane-zane da sassaƙaƙen itace a Bonstell Gallery da ke New York. Nunin ya sami kyakkyawan bita a cikin Art News da New York Times . Ruth Green Harris ta Times ta ce game da Ames, "Tana aiki da sauƙi a cikin babban maɓalli. Goga ta, zai yi kama da, kawai tana zazzage zane, da farko a nan, sannan kuma a can. Amma a ƙarshe, an tattara al'amarin cikin fahimta." Mai sukar Labarai na Art News ya ce bambancin ayyukan Ames ya nuna mata cewa tana "neman maganganun mutum da gangan don basirarta." A cikin shekarar 1943 da 1944, an ba Ames ƙarin nunin nunin solo guda biyu, na farko a gidan wasan kwaikwayo na Puma da na biyu a Eleanor Smith Gallery a St. Louis. Na ƙarshe ya haɗa da zane-zanen mai, zane-zane, launi na ruwa da kuma sassaka na itace. A cikin bitar ta, wani mai sukar yankin ya ce hoton mawaƙin opera na Danish-Amurke, Povla Frijsh, ya yi fice.
Ames ya halarci nune-nunen rukuni a cikin 1940s, ciki har da bayyanuwa a wani sabon hoton da ake kira "Lambar 10" da kuma a wani gidan wasan kwaikwayo a gidan kulab na Ƙungiyar Mata ta Amirka a New York, duka a cikin 1940. Ta shiga cikin nunin mambobi a Cibiyar Fasaha ta Biritaniya ta Amurka, wasan kwaikwayo na rukuni a Puma Gallery na New York, da kuma wasan kwaikwayo a wani hoton da Abokan Girka ke gudanarwa, duk a cikin shekarar 1943. Bita na nunin Puma a cikin Art Digest ya ambaci hoton Ames na wani mashahurin mawaƙin soloist saxophone na lokacin, Sigurd Rasher, da Labarai na Art daga baya sun buga hoton zanen. Howard Devree na New York Times shi ma ya yi kira da hankali ga hoton, yana mai kiran batun sa a matsayin "saxonist mai zafi". Ana nuna zane don wannan zane a sama, a'a. 3.
A cikin shekarar 1947, Ames ya yi tafiya zuwa Curaçao a cikin Netherlands Antilles tare da sculptor haifaffen Holland, Jacoba Coster, kuma an ba da wani nunin solo a Cibiyar Al'adu ta birnin. Bayan dawowarta, ta nuna wasu daga cikin hotunanta a wani baje kolin masu fasaha guda biyu tare da sculptor, Marie Taylor, a Carroll-Knight Gallery a St. Louis. Wani mai sukar gida ya lura da musamman zane-zanen da ta yi a Curacao na mawaki, Paul Nordoff, da kuma wani malami haifaffen Dutch, Frater Radulphus, wanda ake girmamawa a matsayin " Uba Flanagan na Curaçao". Ames ya shafe mafi yawan shekarun 1948 da 1949 a Turai. A lokacin, ta gudanar da wani baje koli a Cercle Universitaire-Interallie, Aix-en-Provence, kuma bayan dawowarta an ba da nune-nunen solo a Galerie Chardin a Paris da Esher-Surrey Gallery, The Hague, Holland.
A cikin shekarar 1953, Ames ta ƙaura daga New York zuwa Chicago don kula da mahaifinta da ya tsufa kuma daga baya ta fara shiga cikin fage na fasaha na birni. Ta shiga ƙungiyar Renaissance Society a Jami'ar Chicago kuma ta shiga cikin nunin ƴan wasan kwaikwayo da aka gudanar a can a 1955. Wata mai bita ga Chicago Tribune ta sami ɗaya daga cikin zane-zanen shimfidar wuri da ta nuna a matsayin "fitacciyar" ganowa a cikin wannan nunin. Lokacin da jama'a suka gudanar da wani nunin memba a shekara mai zuwa, Chicago Tribune ta buga hoto na Ames yana kiranta "mai zane wanda ya ninka mafi kyawun fasaharta tare da jin dadi, tausayi, da jin dadi." A wannan shekarar, ta kuma gudanar da wasan kwaikwayo na zane-zane da sassaka a Cibiyar Fasaha ta 1020 ta Chicago. Wannan nunin ya sami ɗaya daga cikin ƴan ra'ayoyi mara kyau game da aikinta. Wata mai sukar Labarai ta Art ta kira zane-zanen ta "na zahiri da kyawawa, bayanan bangon bakin ciki" kuma ta kira sassakawarta "nau'i-nau'i, zane-zane masu ban sha'awa a cikin salon de Creef." Akalla mutum ɗaya ya bayyana bai yarda da wannan bita ba a cikin ayyukan uku, sassaka da zane-zane guda biyu an sace su daga gallery a lokacin wasan kwaikwayon.
An ba ta nunin solo a Cromer & Quint Gallery a cikin shekarar 1958, a Little Gallery a 1959 (dukansu a Chicago), da kuma a Poindexter Gallery na New York a 1960. Mai sukar Tribune ya kira binciken furanni da ƙananan abubuwan ban mamaki na nunin Cromer & Quint "mai ban sha'awa da ba a saba gani ba". Ta sami damar aron hoton da aka ba ta izini na ɗan wasan kwaikwayo Geraldine Page don wasan kwaikwayon Poindexter. An yi wannan zanen ne a cikin shekarar 1959 a lokacin da aka fara samar da Broadway na asali na " Sweet Bird of Youth " kuma an rataye shi a gidan wasan kwaikwayo na Martin Beck inda aka yi wasan.
A cikin ƙarshen shekarar 1950s, Ames ya ci gaba da shiga cikin nune-nunen rukuni a Chicago, gami da waɗanda ke Cibiyar Fasaha (1957 da 1959), Ƙungiyar Arts (1958 da 1959), da Cromer & Quint (1959). Nunin wasan kwaikwayo na shekarar 1958 Arts Club ya haɗa da zanen, "Tsuntsaye masu duhu", wanda wani mai sukar ya kira "mai ƙarfi, mai yalwaci" kuma wanda aka sake bugawa a cikin labarin Ames a Jami'ar Chicago Magazine daga baya a waccan shekarar. Ana nuna haifuwar wannan hoton a sama, a'a. 4.
A cikin shekarun 1960, Ames yana da nune-nune na solo a Clossen's Gallery a Cincinnati (1961), da Bresler Galleries a Milwaukee (1961), da ɗakin karatu na Jama'a na Chicago (1962), da kuma a kantin sayar da kayayyaki na Carson Pirie Scott a Urbana, Illinois (1967). Wani mai sukar gida ya kira hoton Geraldine Page "nasara ta gaskiya" a cikin nunin Cincinnati. Nunin da aka yi a ɗakin karatu na Jama'a na Chicago ya zana dogon nazari daga mai sukar Tribune, Edith Weigle. Ta takaita aikin Ames tare da yin sharhi mai kyau game da salonta, inda ta ambato Ames kan "binciken da ba a rasa ba don kama motsin haske da sararin samaniya a saman fili", binciken da ta ce a kodayaushe "yana raguwa". Binciken ya kasance tare da hoton Ames tare da manyan zane-zane masu ban mamaki guda uku (wanda aka nuna a cikin akwatin da ke saman wannan labarin). Baje kolin kantin sayar da kayayyaki ya kasance babba: 51 ayyuka gabaɗaya, gami da zanen mai, launukan ruwa, sassakaki, da zane-zane.
Ƙungiyar Ames ta nuna a wannan lokacin sun haɗa da nunin masu fasaha na Chicago a Cibiyar Hoto (1960) da kuma nunin hotuna na zamani na membobin Renaissance Society (1960) da kuma nune-nunen a gidan tarihi na Jihar Illinois (1961), Chicago Society of Artists (1963), da Chicago Arts Club (1961 da 1966). Wani sassaken tagulla mai suna "Young Satyr and Friend" ya sami kyautar sayayya a gidan kayan tarihi na Jihar Illinois.
Babu wani rahoto game da halartar Ames a nune-nunen tsakanin 1967 da mutuwarta a shekarar 1993.
Salon fasaha
[gyara sashe | gyara masomin]Ames ya kasance duka mai zane da sculptor. Hotunan nata sun kasance a cikin katako da aka sassaƙa, wani lokacin kuma a cikin simintin tagulla. Abubuwan da aka zana ta sun haɗa da shimfidar wurare, har yanzu rayuwa, da duka rabin- da tsattsauran ra'ayi. An fi saninta da hotunanta, musamman waɗanda ke da yara a matsayin darasi da kuma manyan maza da mata a fagen wasan kwaikwayo . Yawancin, watakila yawancin, hotuna an ba da izini. Daga cikin waɗanda ke da yara a matsayin batutuwa, sanannen ya nuna 'ya'yan Mista biyu da Mrs. Lloyd W. Powers Jr. suna zaune a piano. Shahararriyar shahararrun hotunan ta sun hada da saxophonist na wasan kwaikwayo, Sigurd Rasher ; Mawaƙin opera, Povla Frijsh ; mawaki na gargajiya, Paul Nordoff ; dan wasan kwaikwayo, Geraldine Page ; da samfurin fashion Marion Morehouse. Wani mai bita ya taɓa cewa Ames ba ya nufin gaskiya a cikin Hotunanta yana gaskanta cewa "zanen ɗan adam yana da hanya ɗaya kamar yanayin wuri ko har yanzu rayuwa — shine motsi da aka yi ta hanyar launi wanda ya fi mahimmanci fiye da batun."
Ames ya tattauna mahimmancin launi a cikin wasu mahallin kuma. A shekara ta 1937 ta rubuta cewa "launi, tsari, da haske" sune "abubuwa masu tsabta" na matsakaicin mai zane. Ta tambaya, "Idan siffan bai girma daga launin kansa ba, menene mahimmancin launi a zanen?" Game da amfani da abstraction, ta taɓa gaya wa wani ɗan jarida, cewa a cikin tarihi "dukkan fasaha mai kyau yana da abubuwa masu banƙyama". A wani mahallin kuma ta ce, "Abin da na sani shi ne ainihin tsarin zanen shine mafi mahimmanci saboda a cikin bincike mai wuyar gaske don kama motsi na haske da sararin samaniya a kan shimfidar wuri, mutum ya fadi sosai. Kullum zane na gaba muna fatan tabbas za mu faɗi abin da muke."
Malamin fasaha kuma marubuci
[gyara sashe | gyara masomin]Tsakanin shekarar 1939 da 1942 Ames malami ne mai koyar da fasaha a wata ƙaramar makaranta a ƙauyen Greenwich da ake kira Makarantar Birni da Ƙasa . Daraktocin makarantar sun yi imanin cewa yara suna koyan mafi kyau idan ayyukansu sun kasance masu son kai kuma suna da hannu. A cikin shekarar 1939, Ames ya rubuta labarin mujalla akan wannan batu daga mahangar malamin fasaha. Ta ce ya kamata dalibai su zabi nasu darussan lokacin yin zane-zane. Ya kamata a koyar da su dabara ta hanyar kai tsaye, kamar nuna bayyani ta hanyar riƙe fensir a tsaye a ƙasa kuma a nemi ɗalibin ya zana shi daga sama. Ta ce wannan tsarin zai baiwa dalibai damar ƙirƙiro ayyukan fasaha wadanda ba a zana su daidai ba har ma da kyau. Ta ba da darussa na sirri a cikin ɗakunan karatu, na farko a New York sannan a Chicago.
A cikin shekarar 1937, Ames ya shiga cikin muhawara game da zane-zane wanda ya fara lokacin da Edward Alden Jewell na New York Times ya rubuta wata kasida kan tarin fasaha na Gidauniyar Guggenheim da kuma shirinta na Gidan Tarihi na Non-Objective Art. Ko da yake muhawarar ta fara ne a matsayin la'akari da fasahar da ba ta dace ba (ko ba tare da ma'ana ba) tare da duk sauran, ya ci gaba a cikin tattaunawa game da cikakken zane-zane na zane-zane, yana lalata fasahar zamani na zamani da fasahar da aka yi la'akari da al'ada da gwajin lokaci. A cikin gudummawar da ta bayar, Ames ta amsa wasiƙar daga ɗan wasan rawa, ɗan wasan barkwanci, kuma ɗan wasan fim, Elise Cavanna (wanda aka fi sani da Elise Armitage), wanda ya rubuta cewa babu wata gaba a cikin zane-zane na zahiri saboda yana da mahimmanci kawai ga "'yan ƙwararrun masu zane-zane, masu tattarawa da kuma laymen." Da take ɗaukar matsayin da ta raba tare da mai sukar Jewell, ta ce, "Babu wani babban fasaha da ba a zayyana ba." A ganinta, ana iya ganin masu fasaha na zamani suna aiki don dawo da "haɗin kai na ruhaniya da fasaha" na Tsohon Masters. Ta ga masu fasaha na zamani suna ci gaba da al'adar da ta samo asali tun zamanin da kuma ta ce ba shi da amfani a rabe su ta hanyar amfani da kalmomi masu rarraba.
A cikin shekarar 1945, ta shiga wani rikici a cikin Times, wannan akan abin da ake tsammani "hargitsi" a cikin fasahar fasahar New York na wancan lokacin. Da yake rubuce-rubuce a ranar 4 ga Maris, lauya kuma mai tattara kayan fasaha, Sam A. Lewisohn, ya koka da wani "cikakkiyar tsalle-tsalle a cikin gidajen tarihi" da "babu ci gaba kuma babu jerin". Ames ya yarda cewa akwai rudani amma ya ce ba laifin masu fasaha ba ne. Ta yi imanin masu tarawa da gidajen kallo ne sanadin kuma masu fasaha da abin ya shafa. A cikin wasiƙar da aka rubuta mai ƙarfi, ta ce ƙarfin ƙirƙira na masu fasaha za su dawwama duk da "dabaru, yaƙe-yaƙe, da rashin mutunci" na masu tarawa da kuma gidajen tarihi. Ta kuma yi annabta cewa, "duk da firgicin da ƴan kishin da za a ji (ta hanyar ban mamaki da mugayen na'urorin talla), muna kan gab da namu babban zamanin kere-kere".
A cikin shekarar 1945, Ames ya rubuta ɗan taƙaitaccen abin tunawa game da Marsden Hartley . An saita a cikin lokaci a ƙarshen rayuwarsa lokacin da yake zaune a gidan Maine lobsterman da matarsa, an rubuta shi kamar ta idanun matar, Katie Young, mazaunin dogon lokaci wanda haihuwar waje ya bambanta ta da sauran mazaunan ƙaramin ƙauyen Corea, Maine . Ames ta sadu da Katie da mijinta Forrest a lokacin da ta ziyarci Hartley a ɗakin ɗakin kaji da matasa suka ba shi rance. Bayan rubuta shi, ta ajiye rubutun da aka buga a cikin kayanta har zuwa shekarar 1959 lokacin da ta ba da ita ga Smithsonian Archives of American Art . Jami'ar Maine ta buga rubutun a cikin 1972 a matsayin Marsden Hartley a Maine . Richard S. Sprague, farfesa na Ingilishi a jami'a ne ya shirya littafin wanda kuma ke da alhakin samun rubutun rubutu da kuma tsara yadda za a buga. Littafin yana da kalmar gaba ta mai sukar fasaha kuma masanin tarihi Elizabeth McCausland da kuma bayanta ta Carl Sprinchorn, wani ɗan wasan kwaikwayo Ba'amurke ɗan Sweden wanda aka sani da zanen da aka yi a Arewacin Maine Woods . Ames ya kwatanta aikin tare da zane-zanen layi da launin ruwa. Wani mai bita ya ce littafin ba shi da gaske game da Hartley kwata-kwata, kodayake ya kasance wani ɓangare na labarin. Littafin yana da gaske game da abokantaka, game da rayuwa da mutuwa, da kuma yadda muke amsa mutuwar ƙaunataccen. Wani mai bita ya rubuta cewa "Miss Ames's prose ne da wuya pretentious, kuma yana da ko da yaushe mai dadi dandano na ta artists 's scene ga Katie. Zane-zane da launukan ruwa su ma suna da sauƙi, daidai suna nuna halin zaman gida na ƙarshe na Hartley da kuma rashin rashi ba tare da shi ba. " Launin ruwa na cocin Correa, wanda aka nuna a sama a dama, ɗaya ne daga cikin kwatancin littafin.
Ames ya rubuta wasu rubuce-rubucen rubuce-rubucen da suka haɗa da waka, gajerun labarai, da wasu labarai marasa ƙima. Ta kuma rubuta wani littafi mai suna "A Chance of My Making" game da tafiye-tafiyen da ta yi bayan yakin da kuma nune-nunen da aka yi mata a Paris da Hague.
Rayuwa ta sirri da iyali
[gyara sashe | gyara masomin]
An haifi Ames a Chicago ranar 16 ga Fabrairu, 1908. Sunan haihuwarta Polly Scribner Ames. Mahaifinta shine Edward Scribner Ames (1870 – 1958), farfesa na falsafa a Jami'ar Chicago kuma minista na Cocin Almajiran Kristi . Mahaifiyarta ita ce Mabel Van Meter Ames (1869 – 1953). Ames yana da 'yan'uwa mata biyu, Demaris (1901 – 1985) da Adelaide (an haife shi 1905), da ɗan'uwa, Van Meter (1898 – 1985). Demaris ta zauna a yankin Washington DC inda mijinta ke aiki da Ma'aikatar Jiha. Adelaide ta zauna a Copenhagen tare da mijinta mai zane. Van Meter Farfesa ne na Falsafa a Jami'ar Cincinnati.
A cikin shekarunta na kwaleji, Ames ta kasance mai taka rawar gani a kungiyoyin jami'a (wasanni, raye-rayen raye-raye, kulob na adabi da ake kira Mortar Board), amma ba ta yin fasahar studio.
Lokacin da ta ƙaura zuwa Chicago a shekarar 1953, mahaifinta ya koma gidanta kuma ta taimaka masa ta kula da shi har mutuwarsa a 1958.
A lokacin ƙuruciyarta da kuma cikin aikinta, ta kira kanta Polly Ames. A ƙarshen shekarar 1930s, ta fara amfani da Scribner Ames don dalilai na ƙwararru kuma daga baya wani lokaci ana kiranta da wannan sunan wani lokaci kuma da cikakken sunan haihuwarta, Polly Scribner Ames.