《库纳瓦流浪者》费奥多尔·索伦采夫(Paul Kane)高清作品欣赏

费奥多尔·索伦采夫(Paul Kane)高清作品《库纳瓦流浪者》

作品名：库纳瓦流浪者

艺术家：费奥多尔·索伦采夫

年代：1856

风格：浪漫主义

类型：肖像

在凯恩创作的一百幅画作中，正是这幅《艺术家在北美印第安人中的漂泊》一书中，坎纳瓦流浪汉被用作前沿。虽然书中描写的梅蒂斯平原克里和英国血统的年轻女子形象只是众多画作中的一个，但是作为拓荒者，她成了凯恩生命计划的封面女郎。《艺术家的流浪》讲述了凯恩在爱德蒙顿堡遇见的这位年轻女子，如何以一种“最风骚的方式”握住她的天鹅翼扇，并且是她的魅力激发了凯恩。CunnaWaBum没有初步的肖像草图或图画。凯恩通过几个示意图发展了他关于扇子肖像的一般概念，图中的人物拿着一个扇子，有时在一个椭圆形内。这些图画中的一个是一个“秃头”女人的轮廓，没有一个与暗示个人的特征相联系。在这幅画中，笨拙的无形的胳膊暗示着凯恩的焦点是迷惑人的扇子，被它沉重的脚步划入观众的空间。这幅肖像画虽然与个人有着千丝万缕的联系，但它的奇妙的一般面貌却作为彩色石版画前沿传承到了它的生活中，成为《艺术家的流浪》的头衔，成为《混血克里女孩》的匿名肖像。根据凯恩的朋友丹尼尔·威尔逊（Daniel Wilson，1816-1892）的评论《艺术家的流浪》，油画抓住了坐者的种族二重性；威尔逊写道，凯恩的画“展示了白人和印第安人的混合的非常有趣的插图”。威尔逊在批评彩色石版画家文森特·布鲁克斯的作品，他“为了画出自己理想中的漂亮脸蛋，牺牲了一切印第安人的特征，就像复制一个普通的蜡娃娃一样。”对于艺术家、民族志家和石版画家来说，Cunnawa-bum魅力的本质分别以粉丝、混血儿和蜡娃娃的身份呈现。现代观众把注意力转移到她的名字——“看星星”的含义上，以此来颠覆19世纪男性的注视并承认她被赋予了权力，这也许是卡纳瓦·布朗最感兴趣的。

Title:Cunnawa-bum

artist:Paul Kane

Date:1856

Style:Romanticism

Genre:portrait

Out of the cycle of one hundred paintings that Kane created, it is this one, Cunnawa-bum, that is used as the frontispiece in his book Wanderings of an Artist among the Indians of North America. Although the image of the young Metis woman of Plains Cree and British ancestry featured in the book is only one of numerous portraits in the painted cycle, as frontispiece she becomes a sort of cover girl for Kane’s life project. Wanderings of an Artist recounts how the young woman, whom Kane met at Fort Edmonton, held her swan’s-wing fan “in a most coquettish manner” and that it was her charm that inspired Kane. No preliminary portrait sketch or drawing exists of Cunnawa-bum. Kane developed his general concept for a fan portrait through several schematic drawings of a figure holding a fan, sometimes within an oval. One of these drawings is a profile of a “flathead” woman; none are articulated with features that suggest an individual. In the painting the awkwardly disembodied arm implicitly suggests that Kane’s focus was the beguiling fan, underlined by its trompe l’oeil nudge into the viewer’s space. This strangely generic aspect of the portrait, despite its connection to an individual, is carried over into its life as the chromolithograph frontispiece to Wanderings of an Artist where its title becomes the anonymous Portrait of a Half-Breed Cree Girl. According to the ethnologist Daniel Wilson (1816–1892), a friend of Kane’s who reviewed Wanderings of an Artist, the oil captures the racial duality of the sitter; Wilson writes that Kane’s painting “presents an exceedingly interesting illustration of the blending of the white and Indian features in the female Half-breed.” Wilson is criticizing the work of the chromolithographer, Vincent Brooks, who had “sacrificed every trace of Indian features in his desire to produce his own ideal of a pretty face, such as might equally well have been copied for an ordinary wax doll.” For the artist, ethnographer, and lithographer, respectively, the essence of Cunnawa-bum’s charm was presented as a fan, in her identity as a half-breed, and as a wax doll. It is perhaps in Cunnawa-bum’s best interest that modern viewers shift the focus to the meaning of her name—“One That Looks at the Stars”—as a way to subvert the nineteenth-century male gaze and recognize her as empowered.