阿道夫·戈特利布(Adolph Gottlieb)
艺术家: 阿道夫·戈特利布
生于: 1903年3月14日；美国纽约
卒于: 1974年3月04日；美国纽约
国籍: 美国,以色列
流派: 抽象表现主义
领域: 绘画
机构: 纽约市艺术学生联合会，纽约市，纽约，美国，帕森斯设计学院（蔡斯学院，纽约艺术学院），纽约市，纽约，美国
阿道夫·戈特利布是美国抽象表现主义画家、雕刻家和图形艺术家。他出生在纽约犹太父母。1920年至1921年，他在纽约艺术学生联盟学习，之后他在法国和德国旅行了一年。在他的技能得到充分发展之前，他曾在Acad & S. 233中学习过；Mie de Lang-Gouth-Chanmi＆Suff. 232；Re在巴黎。当他回来的时候，他是最走遍纽约的艺术家之一。在20世纪30年代中期，他成为一位老师，利用他学到的技术和艺术史知识在绘画时教书。
在他30年代的一个人表演之后，他赢得了同龄人的尊敬。1935年，他和其他九个人，包括本-锡安、伊利亚·博洛托夫斯基、路易斯·哈里斯、杰克·库菲尔德、马克·罗斯科和路易斯·申克，一起展出了他们的作品，直到1940年。他们后来被称为抽象表现主义者。
从1937-1939年，哥特利布生活在亚利桑那州的沙漠，从他的环境中得到线索，他画了仙人掌和贫瘠的风景。他从此转变为更多的超现实主义作品，如《海箱》，它展示了原本正常的景观上神秘的不协调。他在他的成熟作品中表现得最为充分。就在那时，他向观众传达了他在观看亚利桑那州沙漠天空时一定感到的辽阔，尽管他把这种辽阔提炼成一种更基本的抽象形式。
在二战期间，哥特利布在纽约遇到了被流放的超现实主义者，他们补充并重申了他的存在。在潜意识里，作为唤起和普遍艺术的源泉。这种信念促使他尝试基本的和基本的符号。他的实验结果显示在1941-1950年的《象形文字》系列中。在他的《旅行者》的画作中，他把这些符号并列在隔开的空间里。他的符号反映了北美洲和古代近东的土著居民。然而，一旦他发现其中的一个符号不是原创的，他就不再使用它了。他希望他的符号能对所有的观众产生同样的影响，引起共鸣，不是因为他们以前见过它，而是因为它是如此的基本和元素以至于在它们内部回响。
在20世纪50年代，他开始他的新系列《想象风景》，他保留了他对“伪语言”的使用。年龄，但增加了新的空间元素。他不是在传统意义上画山水画，而是修改了与自己的绘画风格相匹配的风格。他在前景中画出简单的图形，背景中的简单图形，观众可以阅读深度。他还为金斯威犹太中心设计了一系列18个窗户。
在他上一个始于1957年的系列爆炸中，他把他的表现简化为两个形状的圆盘和缠绕的群众。他的画是以不同的方式排列的。这一系列不同于想象的景观系列，它暗示了一个基本的景观，有太阳和地面。在另一个层面上，形状是如此的不成熟，它们并不局限于这一解释。戈特利布也是一位出色的色彩画家，在《爆裂》系列中，他对色彩的运用尤为重要。他被认为是最早的色彩画家之一，也是抒情抽象的先驱之一。戈特利布的职业生涯标志着空间和普遍性的演变。戈特利布在1970岁时中风，但继续绘画，并在1974岁的时候一直在爆裂系列中工作。
Artist :Adolph Gottlieb
Additional Name :Adolph Gottlieb
Born : New York, United States
Died : New York, United States
Nationality :American,Jewish
Art Movement :Abstract Expressionism
Art institution :Art Students League of New York, New York City, NY, US,Parsons School of Design (Chase School, New York School of Art), New York City, NY, US
Adolph Gottlieb was an American abstract expressionist painter, sculptor and graphic artist. He was born in New York to Jewish parents. From 1920-1921 he studied at the Art Students League of New York, after which he traveled in France and Germany for a year. Before his skills had fully developed he studied at the Académie de la Grande Chaumière in Paris. When he returned, he was one of the most traveled New York Artists. In the mid-1930s, he became a teacher using his acquired technical and art history knowledge to teach while he painted.
After his 1930’s one man show he won respect amongst his peers. In 1935, he and nine others, including Ben-Zion, Ilya Bolotowsky, Louis Harris, Jack Kufeld, Mark Rothko, and Louis Schanker, known as “The Ten” exhibited their works together until 1940. They would come to be known as the Abstract Expressionists.
From 1937-1939, Gottlieb lived in the Arizona desert, and taking the cue from his environment he painted cacti and barren scenery. He transitioned from this into more Surrealist works like the Sea Chest which displays mysterious incongruities on an otherwise normal landscape. He expresses space most fully in his mature works. It is then that he conveys to the viewer the expansiveness he must have felt looking at Arizona desert sky, although he distills this expansiveness into a more basic abstract form.
During World War II, Gottlieb encountered exiled Surrealists in New York and they added to and reaffirmed his belief in the subconscious as the well for evocative and universal art. This belief led him to experiment with basic and elemental symbols. The results of his experiments manifested themselves in his series “Pictographs” which spanned from 1941-1950. In his painting Voyager’s Return, he juxtaposes these symbols in compartmentalized spaces. His symbols reflect those of indigenous populations of North America and the Ancient Near East. However, once he found out one of his symbols was not original, he no longer used it. He wanted his symbols to have the same impact on all his viewers, striking a chord not because they had seen it before, but because it was so basic and elemental that it resounded within them.
In the 1950s he began his new series Imaginary Landscapes he retained his usage of a ‘pseudo-language,’ but added the new element of space. He was not painting landscapes in the traditional sense, rather he modified that genre to match his own style of painting. He painted simple figures in the foreground, and simple figures in the background, and the viewer can read the depth. He also designed a series of 18 windows for the Kingsway Jewish Center.
In his last series Burst which started in 1957, he simplifies his representation down to two shapes discs and winding masses. His paintings are variations with these elements arranged in different ways. This series, unlike the Imaginary Landscape series, suggests a basic landscape with a sun and a ground. On another level, the shapes are so rudimentary; they are not limited to this one interpretation. Gottlieb was a masterful colorist as well and in the Burst series his use of color is particularly crucial. He is considered one of the first color field painters and is one of the forerunners of Lyrical Abstraction. Gottlieb’s career was marked by the evolution of space and universality. Gottlieb had a stroke in 1970, but continued on with his painting and worked on the Burst series until his death in 1974.
