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欧文 佩恩

Paintings

Irving Penn Tower of Babel, 2006. india ink with gum arabic over graphite on paper, overall, 29 5/8 x 22 1/4 inches.

Irving Penn Tower of Babel, 2006. india ink with gum arabic over graphite on paper, overall, 29 5/8 x 22 1/4 inches.

Irving Penn Still Life with Skull, Bottle, and Sewing Machine, New York, 2005. watercolor with sand and gum arabic over inkjet print on paper, overall, 16 1/4 x 22 1/8 inches © Irving Penn Foundation.

Irving Penn Still Life with Skull, Bottle, and Sewing Machine, New York, 2005. watercolor with sand and gum arabic over inkjet print on paper, overall, 16 1/4 x 22 1/8 inches © Irving Penn Foundation.

Irving Penn Collision, New York, 2006. india ink over graphite on paper, overall, 29 3/4 x 22 inches © Irving Penn Foundation.

Irving Penn Collision, New York, 2006. india ink over graphite on paper, overall, 29 3/4 x 22 inches © Irving Penn Foundation.

About 欧文 佩恩

歐文・佩恩 (Irving Penn,1917-2009) 出生於新澤西州Plainfield市。1934年至1938年,他在費城博物館工業藝術學院(Philadelphia Museum School of Industrial Art) 專攻設計,師從阿列克謝・布魯多維奇(Alexey Brodovitch)。他在墨西哥繪畫一年後回到紐約市,1943年開始在《Vogue》雜誌工作,當時的藝術總監為亞歷山大・利伯曼(Alexander Liberman)。 佩恩為美國和國外商業客戶如《Vogue》拍攝作品幾近七十年。無論是別樹一格的時尚形象、光彩奪目的肖像畫或扣人心弦的靜物畫,每張照片均具有佩恩只此一家的簡約優雅審美風格。 除了編輯、廣告和個人作品外,佩恩也是一位版畫大師。1964年開始,他開創了一種鉑鈀印刷的複雜技術。鉑鈀印刷本來是一種十九世紀的印刷工藝,而佩恩將其應用在二十世紀的材料之上,開創先河。 佩恩一生曾在超過四十所博物館舉行重要展覽,包括紐約現代藝術博物館(The Museum of Modern Art)、華盛頓國家藝廊(The National Gallery of Art)、洛杉磯保羅蓋蒂博物館(The J. Paul Getty Museum),及2017年在紐約大都會藝術博物館 (The Metropolitan Museum of Art)舉行的百歲紀念展覽。

Press Release

  • Irving Penn: Paintings

    New York – Pace Gallery and Pace/MacGill Gallery are honored to present the first-ever exhibition of paintings by Irving Penn (1917–2009). While internationally renowned for his work as a photographer, Penn initially set out to be a painter and worked in the medium at the beginning and end of his career. Focused on Penn’s paintings from the artist’s final two decades, the exhibition will be on view at 32 East 57th Street from September 13–October 13, 2018, with an opening reception on Wednesday, September 12 from 6–8 pm. To coincide with the exhibition, The Irving Penn Foundation, in collaboration with Pace and Pace/MacGill, will publish a catalogue with the first scholarship on Penn’s painting practice, including essays by writer and curator, David Campany, and Legacy Program Manager at The Irving Penn Foundation, Alexandra Dennett; as well as Afterwords by Arne Glimcher, Pace Gallery Founder, and Peter MacGill, Pace/MacGill Gallery Founder.

    Encompassing approximately 30 works drawn from the collection of The Irving Penn Foundation, the exhibition will showcase Penn’s mixed-media paintings from the late 1980s through the early 2000s, highlighting the artist’s experimentation with materials, form, and color. Drawing inspiration from leading 20th century figures such as Henri Matisse, Giorgio Morandi, and Fernand Léger, Penn’s textured, often verging on abstract, paintings deviate from the striking and smooth style of his photographs yet share in similar techniques and bold character. Penn’s paintings comprise successive layers, appearing nearly collage-like. In an evolution of his platinum-palladium printing technique for photography, many of Penn’s paintings commenced with the artist creating a drawing in graphite or ink of subjects ranging from mushrooms to mythical creatures, which he would then photograph, enlarge, and print to emphasize his lines’ graphic style. The printed form served as the painting’s foundational structure, over which Penn would apply combinations of watercolor, ink, dry color pigments and gum arabic, sometimes adding sand to achieve greater texture. As this practice evolved in the early 2000s, Penn began to forego the printing step, painting more directly and freely. By surveying the full span of Penn’s decades of painting, the exhibition reveals how his style grew increasingly gestural and fluid over time, embracing all that the medium offers.

    In addition to the mixed-media paintings that dominated Penn’s work in that medium, he also produced a small group of Surrealist drawings in the very beginning of his career. The first and only occasion these works were shown publicly was Penn’s 1984 retrospective at the Museum of Modern Art, where a small selection were on view. After this exhibition, the artist again began to paint and draw, over forty years after his earliest experimentations. Then in his seventies and after a prolific and celebrated career in photography, Penn embraced the quiet, solitary and physical experience of painting; writing in his memoir Passage: “Pleased with the new freedom, I found inside myself accumulated forms, enjoyed arbitrary color, the touch of the brush, the flow of pigment, the slowness and privacy.”

    Irving Penn (1917-2009) was born in Plainfield, New Jersey. From 1934–38, he studied design with Alexey Brodovitch at the Philadelphia Museum School of Industrial Art. Following a year painting in Mexico, he returned to New York City and began working at Vogue magazine in 1943, where Alexander Liberman was art director.

    Penn photographed for Vogue and commercial clients in America and abroad for nearly 70 years. Whether an innovative fashion image, striking portrait or compelling still life, each of Penn’s pictures bears his trademark style of elegant aesthetic simplicity.

    In addition to his editorial, advertising and personal work, Penn was also a master printmaker. Beginning in 1964, he pioneered a complex technique for making platinum-palladium prints, a 19th century print process to which he applied 20th century materials.

    Penn has had over 40 major museum exhibitions in his lifetime including shows at the Museum of Modern Art, New York, The National Gallery of Art, Washington, D.C., The J. Paul Getty Museum, Los Angeles, and his Centennial opened at the Metropolitan Museum of Art, New York, in 2017.