JOAN EARLEY'S WORKS IN PARTIAL HD

JOAN EARLEY (1921-1963)

https://www.nationalgalleries.org/

Boats in a Harbour, Seen from Above, Arbroath

Black ink on paper ， 17.50 x 22.70 cm

Joan Eardley Self-Portrait， 1943

Oil on plywood ， 53.40 x 45.70 cm

Born in Sussex, Eardley studied at Goldsmiths’ College, London and at Glasgow School of Art. She was deeply affected by the life and atmosphere of Glasgow, concentrating her work on street life. She divided her time between Glasgow and the fishing village of Catterline, south of Aberdeen, where in her later years her favourite subjects were the village and the sea, especially in stormy weather. This self-portrait was painted by Eardley during her final year at Glasgow School of Art. It is thought that she intended this portrait to resemble fresco painting, reflecting her interest in early Italian Renaissance artists such as Masaccio and Piero della Francesca.

Eardley repeatedly depicted the children who lived near her Townhead studio in Glasgow. Adult figures rarely appear in her work. Eardley loved the friendliness and community spirit of the area. She took photographs of street life and of children playing, but also worked from life drawings. The children would visit her studio as friends, to play with a box of toys she had, and she was then able to make sketches of them. Eardley's paintings were praised for their honest portrayal of working-class life in Glasgow.(1949-51)

Eardley多次描绘了住在她格拉斯哥Townhead工作室附近的孩子们。成人人物很少出现在她的作品中。Eardley喜欢该地区的友好和社区精神。她拍摄了街头生活和孩子们玩耍的照片，但也从生活绘画中工作。孩子们会作为朋友参观她的工作室，玩一盒她拥有的玩具，然后她就可以画草图了。Eardley的画作因其对格拉斯哥工人阶级生活的诚实描绘而受到赞扬。

The boy who posed for this painting is Jim Samson, part of a family of twelve children who lived in the Townhead area of central Glasgow, near Eardley’s studio at 204 St James Road. His brother, Andrew, the eldest of the Samson children, met Eardley first, in about 1953. Andrew and his brothers and sisters soon became her favourite models. Jim posed for five or more paintings. The Townhead area was in an overcrowded, decrepit state in the 1950s, and the poverty was extreme. Jim Samson acknowledged that part of the pleasure of posing for Eardley was that she would give them syrup and cheese sandwiches and a few pennies. He was born on Christmas day 1944 and would have been about eight or nine when he posed here. Aged sixteen, he joined the Merchant Navy and later settled in Melbourne Australia. (ABOUT 1953-54)

为这幅画摆姿势的男孩是吉姆·萨姆森，他是一个由12个孩子组成的家庭的一员，他们住在格拉斯哥市中心的汤黑德地区，靠近埃德利在圣詹姆斯路204号的工作室。他的兄弟Andrew是Samson孩子中的老大，大约在1953年第一次见到Eardley。安德鲁和他的兄弟姐妹很快就成了她最喜欢的模特。吉姆摆姿势画了五幅或更多幅画。20世纪50年代，Townhead地区处于过度拥挤、破旧的状态，贫困是极端的。Jim Samson承认，为Eardley摆姿势的部分乐趣是她会给他们糖浆和奶酪三明治以及几便士。他出生于1944年圣诞节，在这里摆姿势时大约八九岁。16岁时，他加入了商船队，后来在澳大利亚墨尔本定居。

Eardley frequently painted clothed figures, but this starkly painted nude is unique in her work. The figure is painted in confident, block-like brushstrokes in the manner of Nicolas de Staël. The model was Eardley’s friend Angus Neil, who posed for her on a number of occasions in the late 1940s and early 1950s. The painting aroused controversy when it was exhibited in Edinburgh in 1955 since it was considered daring for a woman to paint a naked man. After receiving such unfavourable press, Eardley did not complete any similar subjects. (1955)

Eardley经常画穿衣服的人物，但这种鲜明的裸体画在她的作品中是独一无二的。这个人物以Nicolas de Staël的方式用自信的块状笔触绘制。这位模特是Eardley的朋友Angus Neil，他在20世纪40年代末和50年代初多次为她摆姿势。这幅画于1955年在爱丁堡展出时引起了争议，因为人们认为女人敢于画一个裸体男人。在收到如此不利的新闻后，Eardley没有完成任何类似的主题。

Working at her studio in Townhead in Glasgow, Eardley chose to depict subjects which were typical of the working-class neighbourhood. In addition to her many works showing children from the area, Eardley also depicted run-down tenement buildings and sparsely furnished interiors. Such subject matter parallels that of the ‘Kitchen Sink School’ of realism, active in London at the same time. However, paintings such as A Stove also show the influence of Van Gogh, Vuillard and nineteenth century French realist painters, whose art Eardley would have been able to see at Glasgow’s Kelvingrove Art Gallery. Although devoid of people, this sombre representation of the corner of a kitchen suggests that its inhabitants lead a simple and meagre existence. (ABOUT 1955)

Eardley在格拉斯哥Townhead的工作室工作，她选择描绘工人阶级社区的典型主题。除了她展示该地区儿童的许多作品外，Eardley还描绘了破旧的住宅楼和家具稀少的内饰。这种主题与现实主义的“厨房水槽学校”相似，同时活跃在伦敦。然而，像A Stove这样的画作也显示了Van Gogh、Vuillard和十九世纪法国现实主义画家的影响，他们的艺术Eardley本可以在格拉斯哥的Kelvingrove艺术画廊看到。虽然没有人，但这种对厨房角落的阴郁表现表明，其居民过着简单而贫乏的生活。

snow , 1958

Oil on board , 101.50 x 113.50 cm;

Catterline, on the east coast of Scotland, became both home and primary subject for Joan Eardley during the last decade of her life. She depicted the village in all seasons and weathers, working outdoors as much as possible, which gave her a deep connection with the landscape. This is the view north-west, from behind her cottage at No.1 South Row. Despite being covered with snow and under a grey sky, Eardley’s depiction of the village is enlivened by dashes of colour. Crops can be seen poking through the snow, a cottage is brightened by a red chimney, and in the distance an orange sun hangs above the horizon.

苏格兰东海岸的Catterline在她生命的最后十年里成为Joan Eardley的家和主要主题。她描绘了所有季节和天气的村庄，尽可能多地在户外工作，这使她与景观有着深厚的联系。这是西北的景色，从她位于南街1号的小屋后面看。尽管被雪覆盖，在灰色的天空下，Eardley对村庄的描述仍然被色彩的破折点所活跃。可以看到庄稼在雪中戳穿，小屋被红色的烟囱照亮，远处的橙色太阳悬挂在地平线上。

Eardley first visited Catterline, a small coastal village south of Aberdeen, in 1951. From the mid-1950s she stayed there semi-permanently, dividing her time between Glasgow and Catterline. This painting shows an unusual view-point, looking down from the clifftop in front of her cottage at No.1 South Row, north-east to the pier across the bay. With a limited palette and bold brush strokes, Eardley has captured the chill of a winter’s day on the north sea coast.

Eardley于1951年首次访问了阿伯丁以南的沿海小村庄Catterline。从20世纪50年代中期开始，她半永久地呆在那里，在格拉斯哥和卡特琳之间分配时间。这幅画展示了一个不寻常的视角，从她位于南街1号的小屋前的悬崖顶往下看，东北到海湾对面的码头。凭借有限的调色板和大胆的笔触，Eardley捕捉到了北海海岸冬日的寒意。(约 1958)

Seine Boat , About 1957-1960

Oil on canvas , 61.50 x 51.00 x 2.00 cm
This is a lively depiction of a small but sturdy-looking fishing boat, confidently painted in block-like brushstrokes. The boat is not French, as the title might imply, but is a type of fishing boat once common on the east coast of Scotland. Eardley lived and worked in the village of Catterline, south of Aberdeen, in the later years of her life. The ‘Seine’ of the title is taken from a type of fishing net which was suspended vertically in the water, with floats at the top and weights on the bottom. The boat has been identified as the Mary Gown. Its home port was Stonehaven, an important fishing town between Aberdeen and Catterline. By the late 1950s it was fishing mainly for catching crab in creels. The style of the painting indicates that it was painted in about 1957.

这是对一艘小而坚固的渔船的生动描绘，它自信地用块状的笔触画。正如标题可能暗示的那样，这艘船不是法国的，而是一种曾经在苏格兰东海岸常见的渔船。Eardley晚年在阿伯丁以南的Catterline村生活和工作。标题的“Seine”取自一种垂直悬挂在水中的渔网，顶部有浮标，底部有砝码。这艘船已被确认为玛丽礼服。它的母港是斯通黑文，是阿伯丁和卡特林之间的一个重要渔镇。到20世纪50年代末，它主要是为了在鲈鱼中捕捞螃蟹。这幅画的风格表明它大约画于1957年。

This painting was exhibited in Edinburgh in April 1961, and judging by the title, Harvest, it would probably have been painted in the autumn of 1960. Eardley has added grit to the paint surface to give texture and movement to the work and the colours are expressive of the warm hues typical of autumnal crops.

这幅画于1961年4月在爱丁堡展出，从《收获》的标题来看，它可能是在1960年秋天画的。Eardley在油漆表面添加了砂砾，为作品赋予纹理和运动感，这些颜色表达了秋季作物典型的温暖色调。

Like most of Eardley’s landscapes and seascapes, this work was painted outdoors. Eardley liked to immerse herself in her subject, and in this painting it appears as if the viewer is buried in the grass and looking upwards. The direct connection with the landscape is increased by the inclusion of real grass and seed-heads, stuck into the paint. Eardley used collage in a few of her later works to heighten their immediacy.(1960)

像Eardley的大多数风景和海景一样，这件作品是在户外画的。Eardley喜欢沉浸在她的主题中，在这幅画中，观众似乎被埋在草地上，向上看。通过加入真正的草和种子头，粘在油漆中，增加了与景观的直接联系。Eardley在她后来的几部作品中使用了拼贴画来提高它们的即时性。

This work was painted outdoors in Catterline, the small fishing village south of Aberdeen where Eardley spent much of her time from the 1950s onwards. She has heightened the sense of realism in Summer Fields by adding grass, picked as she worked, into the wet paint. The land and seascapes around Catterline inspired many of Eardley’s most memorable works, some of which verge on abstraction. Her expressive use of paint and warm colours combined with deep shadows evokes the summer sun on a golden crop.(about 1961)

这件作品是在Catterline户外画的，Catterline是阿伯丁以南的小渔村，从20世纪50年代开始，Eardley在那里度过了大部分时间。她通过将工作时采摘的草添加到潮湿的油漆中，增强了Summer Fields的现实感。Catterline周围的陆地和海景启发了Eardley许多最令人难忘的作品，其中一些接近抽象。她对油漆和暖色调的富有表现力的使用与深沉的阴影相结合，唤起了金色作物上的夏日阳光。

This work was painted on the shore in Catterline, a village on the east coast of Scotland. It shows a wave breaking over the pier, hence the wave’s regular shape, approaching the artist like a wall of water. Eardley described the circumstances of this work as follows: ‘It was painted during February 1961 – entirely outside – as is the case with all my sea paintings. It was one of four paintings which I had in progress during a stormy period of weather. I worked on all four together – or rather from one to the other according to the tide.’ Here, Eardley has mixed sand into the white paint to give a sense of the froth of the water. When shown at the Royal Scottish Academy in 1961, The Wave was commended by a Glasgow Heraldart critic: ‘This painter seems to grow in stature from exhibition to exhibition; no one else in Scotland is painting with such power on this scale.’ (1961)

这件作品画在苏格兰东海岸的一个村庄Catterline的海岸上。它显示波浪冲破了码头，因此波浪的形状是规则的，像一堵水墙一样接近艺术家。Eardley对这部作品的情况描述如下：“它是在1961年2月画的——完全是在外面画的——就像我所有的海画一样。这是我在暴风雨天气期间正在创作的四幅画之一。我一起研究了这四个——或者更确切地说，根据潮流从一个到另一个。在这里，Eardley将沙子混合到白色油漆中，以感受水的泡沫。1961年在苏格兰皇家学院展出时，《浪潮》得到了格拉斯哥先驱艺术评论家的赞扬：“这位画家似乎从展览到展览的地位都在增长；在苏格兰，没有其他人在这种规模上以如此强大的绘画。”

The village of Catterline, near Stonehaven on the north-east coast of Scotland became Eardley’s home in the 1950s. She lived in a basic cottage on the headland above the bay and set about capturing the changing moods of the seasons and the weather. Her seascapes were painted outdoors, mainly in winter, in extreme cold and in winds which sometimes blew the paintings away. Clamps were used to keep Eardley’s paintings fixed to her easel, which was sometimes weighted down with rocks. (1962)

20世纪50年代，苏格兰东北海岸Stonehaven附近的Catterline村成为Eardley的家。她住在海湾上方岬角的一个基本小屋里，开始捕捉季节和天气的变化。她的海景是在户外画的，主要是在冬天，在极度寒冷和风中，有时会把画吹走。夹子被用来将Eardley的画固定在她的画架上，画架有时用石头加重。

Eardley’s flower paintings are rare and belong mainly to periods of illness when she was unable to work outside: friends would bring bunches of wild flowers to her studio for her to paint. She made about a dozen such paintings of wildflowers in vases late in life. They are not, as is sometimes said, her very last works, painted when she was confined indoors in the early summer months of 1963. Indeed, Eardley stopped painting when she could no longer see properly, at the beginning of July 1963, and wildflowers like those shown here would not have been in bloom any earlier. For that reason, Flowersprobably dates from 1962. This painting shows her experimentation with thick oil paint, exploring texture, movement and colour. (1962)

Eardley的花画很罕见，主要属于她无法在外面工作的疾病时期：朋友会把一束束野花带到她的工作室让她画画。晚年，她在花瓶里画了大约十几幅这样的野花画。正如人们有时所说，它们不是她最后的作品，是在1963年初夏被关在室内时画的。事实上，1963年7月初，Eardley在无法正常看到时就停止了绘画，像这里展示的野花不会更早开花。因此，鲜花可能可以追溯到1962年。这幅画展示了她对厚油画的实验，探索纹理、运动和颜色。

The two children depicted in this painting are Mary and Pat Samson, who lived near Eardley's studio in the Townhead area of Glasgow. They feature in many of her paintings. The stencilled lettering and fragments of collaged newspaper imitate graffiti; the silver and gold papers are probably sweet wrappers. The Gallery purchased the painting in May 1963, not long before the artist’s death. Invited to comment on it, Eardley wrote: ‘It was started in winter of Jan and Feb 1962. And repainted along with others of its series last winter December 62-Jan 63. I can’t think of any more information to give you. The children whom I often paint were my models as far as I can remember (members of the Samson family).’ (1962-63)

这幅画中描绘的两个孩子是Mary和Pat Samson，他们住在格拉斯哥Townhead地区的Eardley工作室附近。它们出现在她的许多画作中。拼贴报纸的模版字体和碎片模仿涂鸦；银色和金色纸张可能是甜美的包装。画廊于1963年5月购买了这幅画，就在艺术家去世前不久。被邀请对此发表评论，Eardley写道：“它始于1962年1月和2月的冬天。去年12月62日至1月63日，与该系列的其他系列一起重新粉刷。我想不出更多的信息可以给你。据我所知，我经常画的孩子是我的模特（参孙家族的成员）。

This painting depicts part of the coastline at Catterline, the small fishing village south of Aberdeen where Eardley spent much of her time from the early 1950s. It shows three fishing boats pulled up onto the beach, protected from the rough winter seas by the pier, which spans across the composition in the background. With expressive brushwork Eardley has captured the stormy sky and battering waves. She almost never painted figures in Catterline, but here the vertical yellow and brown marks in the centre foreground indicate a fisherman in his waterproofs.

这幅画描绘了Catterline的部分海岸线，Catterline是阿伯丁以南的小渔村，Eardley从20世纪50年代初开始在那里度过了大部分时间。它显示了三艘渔船停在海滩上，由码头保护，免受冬季波涛汹涌的大海的影响，码头横跨背景中的构图。Eardley用富有表现力的笔触抓住了暴风雨的天空和汹涌的海浪。她几乎从未用Catterline画过人物，但这里前景中央的垂直黄色和棕色标记表明一个穿着防水衣服的渔夫。(1963)

Eardley rented a cottage in the small fishing village of Catterline from 1954, and thereafter divided her time between Catterline and Glasgow. Her cottage, No. 1 South Row, can be seen at the far left of the painting, though by the time this work was painted she was using it as a picture store and she lived in a more comfortable house in the centre of the village. Perched on the clifftop and at the mercy of the elements rolling in off the North Sea, the cottages seem to be bracing themselves for a hard winter. (1963)

从1954年开始，Eardley在Catterline的小渔村租了一间小屋，此后在Catterline和格拉斯哥之间分配时间。她的小屋，南街1号，可以在画的最左边看到，尽管当这件作品被画出来时，她正在把它作为画店，她住在村子中心的一栋更舒适的房子里。坐落在悬崖顶上，在北海滚滚的元素的摆布下，这些小屋似乎正在为艰难的冬天做准备。