用紙
氏名 クラス 日付

Herman de Vries, random dot grid pattern v 73-121 (1973), THAT'S CONTEMPORARY. 参考用として複製。著作権は権利者に帰属します。 動きのある光の下で、このキャンバスをご覧ください。描線、ニス越しに透ける真の色、そして剥き出しの顔料を。

事実関係

作家
Herman de Vries wikioo.org/ja/artists/herman-de-vries/
制作年
1931 –
彩色済み
1973
原寸大
73 x 102 cm
開催地
THAT'S CONTEMPORARY wikioo.org/ja/museums/that-s-contemporary-milan/

文脈において

random dot grid pattern v 73-121 — Herman de Vries

サイズ感について

原寸は 73 × 102 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。

制作時期はいつですか?

  1. 1930
  2. 1940
  3. 1950
  4. 1960
  5. 1970
  6. 1980
  7. 1990
  8. 2000
  9. 2010

上の行:年。下の行:各期間の開始時と終了時の年齢(誕生時を0歳として計算)。

作家が 42 歳の時に制作。 1 of the 9 dated works by this artist in our catalogue came earlier.

▲ 本作品、1973 年代ごとに並ぶ、すべての制作年入り作品

初期作品:1979年まで 主な活動期間:1979–2015 晩年の作品:2015年以降

これら3つの区分により、本カタログに日付が記されている作品群は、第1四半期、中間期、そして第4四半期へと分けられます。これらはアーティストの全作品を網羅したものではありません。記録の空白期間が、単なる活動休止期間として現れている場合もあります。 アーティストの歩みとともに刻まれた、その年月

似ている作品

上記の作品から一つ選んでください。その作品と共通する点を2つ、異なる点を1つ挙げてください。

こちらの作品とあわせてご覧いただける他の作品:wikioo.org/ja/art/similar/herman-de-vries-random-dot-grid-pattern-v-73-121-D73UX4-en/

カラーパレット

画像から抽出したカラーパレット

    メインカラー

    Putty #cdd0c9

    保存済みパレット

    • #CDD0C9
    • #CBBA9C
    • #B49D80
    • #C65C2D

    アーティストのパレット全体を構成するこれらの色彩 色から他の絵画を探す

    配色
    Monochrome 作品の中で主要な色調。
    主な色名
    Putty
    彩度
    Monochromatic 単一の落ち着いた色調から、多彩で鮮やかな色彩まで、色の彩度やバリエーションの豊かさ。
    コントラスト
    Serene 作品全体における、色の明度と彩度の差異の度合い。
    調和
    Strong Color Unity 対照的な色合いから完全に調和したものまで、色彩がいかに美しく響き合っているか。
    明るさ
    Brilliant 深い影から明るいハイライトまで、作品全体の明暗の度合い。
    彩度
    Muted 限りなくグレーに近い色合いから、鮮やかな色彩まで、その純度と強さが際立ちます。

    この絵画が世界中のどこで鑑賞されているか

    • 1%未満
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% 以上
    この作品単体では地図化できるほどの来場者数が記録されていないため、このプレートには過去12か月間における Herman de Vries の全作品を記載しています。合計で 1 か国にわたります。 これらの数値の出典について

    主要な10カ国

    1. 1 中国 100.0%200 visits

    地図上で最も色が濃い3つの国を見つけてください。この絵画を収蔵している美術館は、そのいずれかの国にありますか?遠く離れた場所にいる人々が、この作品に目を向ける理由を一つ書き出してください。

    Herman de Vries の注目作品 1点

    1. 1 random dot grid pattern v 73-121, 1973 こちらの作品 100.0%200 visits

    これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 100.0% を占めています。カタログにはこのアーティストによる 9 点の作品が収められており、そのうち 1 点は少なくとも一度は閲覧されました。 This painting ranks 1 of them, with 100.0% of that attention (200 visits). 月ごとの集計結果は同一です

    バーは注目度を示すものであり、品質を示すものではありません。リストの最上部にある作品と、こちらの作品を選んでください:絵画がその技術的な巧拙を超えて有名になる要因として、考えられることを一つ挙げてください。

    アーティストと美術館

    作家

    Herman de Vries

    生誕地 Alkmaar, Netherlands

    Herman de Vries: A Life Dedicated to the Language of Nature

    Born in Alkmaar, Netherlands, in 1931, Herman de Vries’s artistic journey is inextricably linked to a profound reverence for the natural world. From his early beginnings exploring the intricacies of plants and seeds – a fascination that began in 1953 – he embarked on a lifelong pursuit to translate the silent eloquence of nature into meticulously crafted visual narratives. De Vries wasn't merely an artist; he was, as he himself described it, a ‘translator,’ seeking to reveal the hidden order within seemingly chaotic natural forms. His work stands apart not just for its technical precision but for its quiet insistence on recognizing the inherent beauty and intelligence embedded in even the smallest botanical detail.

    De Vries’s early career was marked by experimentation with various media, including drawing and collage, reflecting a broader engagement with artistic movements of his time. The influence of the Zero group – a collective of Dutch artists pushing boundaries in the late 1950s and early 1960s – is evident in his commitment to simplicity and economy of form. This minimalist approach, coupled with a desire to capture the essence of natural phenomena, became a defining characteristic of his later work. He famously adopted a lowercase style for his name on his artwork, a deliberate choice intended to diminish hierarchy and emphasize the equal importance of the artist and the subject matter – a subtle yet powerful statement about his artistic philosophy.

    Moving into the 1970s, De Vries shifted his focus towards directly engaging with natural materials. He began collecting soil samples from around the globe, transforming them into vibrant areas of color that revealed the astonishing diversity hidden beneath our feet. This period marked a significant evolution in his work, moving beyond representation to explore the very materiality of nature itself. His pieces became less about depicting specific plants and more about conveying their fundamental qualities – texture, form, and color – through carefully arranged collections.

    Botanical Precision and Geometric Harmony

    De Vries’s technical skill is undeniable. He possessed an almost obsessive attention to detail, meticulously rendering the textures of seeds, the veins of leaves, and the intricate patterns of dried flowers. His works are characterized by a remarkable level of precision, achieved through painstaking observation and patient execution. However, this technical mastery never overshadows the underlying conceptual framework of his art. It’s not simply about accurate representation; it's about revealing the inherent geometry and order within seemingly random natural arrangements.

    Consider “Prunus Persica,” a captivating study of twelve nuts and seeds rendered in exquisite detail. The arrangement isn’t arbitrary; it follows a precise geometric pattern, mirroring the underlying structure of the botanical specimens themselves. Similarly, "An Afternoon Under a Cherry Tree" showcases dried leaves arranged in meticulously crafted diptychs – a testament to De Vries's ability to transform ephemeral natural elements into enduring works of art. These pieces demonstrate his mastery of composition and his deep understanding of how form and space interact.

    A Life Rooted in Germany

    In 1980, De Vries relocated to Eschenau, near Knetzgau, Germany, where he continues to live and work today. This move marked a deepening connection with the landscape and a continued exploration of his core themes. His studio has become a repository for collected natural materials – soil, seeds, leaves, and fragments of wood – each carefully selected and arranged to evoke a sense of wonder and contemplation.

    His current work often focuses on disrupted relationships between humanity and nature, reflecting a growing concern about environmental issues. He continues to collect and arrange these elements, not as static representations but as dynamic expressions of the interconnectedness of all things. The artist’s choice to live in Germany has undoubtedly influenced his perspective, allowing him to immerse himself in the rich cultural heritage of the region while maintaining a steadfast commitment to his artistic vision.

    Recognition and Legacy

    Herman de Vries's work has garnered significant recognition within the international art community. His pieces are held in prestigious collections including The Museum of Modern Art in New York, the Stedelijk Museum Schiedam in the Netherlands, and the Victoria and Albert Museum in London. In 2015, he was included in the Venice Biennale, a testament to his enduring influence and artistic merit.

    Beyond individual accolades, De Vries’s legacy lies in his profound respect for nature and his ability to translate its complexities into visually arresting works of art. He demonstrated that beauty could be found not only in grand landscapes but also in the smallest details – a single seed, a dried leaf, or a handful of soil. His work serves as a constant reminder of our connection to the natural world and the importance of appreciating its inherent value.

    美術館・博物館

    THAT'S CONTEMPORARY

    展示場所: Milan, Italy

    THAT'S CONTEMPORARY: A Milanese Hub for Contemporary Art

    Milan, Italy – THAT’S CONTEMPORARY stands as a singular testament to the evolving landscape of Italian art. Founded in 2011, this innovative cultural platform isn’t merely documenting contemporary artistic endeavors; it actively cultivates an independent network connecting artists, galleries, and audiences—a deliberate departure from traditional museum models. Its mission is simple yet profound: to illuminate Milan's dynamic creative spirit and foster a deeper appreciation for modern art forms.

    Mapping the Scene:

    Launched as a response to the need for centralized artistic mapping, THAT’S CONTEMPORARY swiftly established itself as the go-to resource for discovering exhibitions and emerging talent within Milan.

    Bridging Connections:

    Unlike conventional institutions focused on preservation, THIS platform prioritizes engagement—facilitating dialogues between artists and collectors alike.

    Collection Highlights & Artistic Explorations

    While lacking a permanent collection in the traditional sense, THAT’S CONTEMPORARY offers visitors an immersive journey into Milanese contemporary art. The platform champions exhibitions showcasing diverse mediums—photography, sculpture, installation art—often featuring groundbreaking perspectives on societal issues and artistic experimentation. Notably, explorations of architectural spaces like Viafarini contribute to this experience, highlighting innovative approaches to gallery design and fostering stimulating conversations about artistic presentation.

    Featured Works:

    Among the showcased pieces are captivating artworks such as Gerhard Richter’s ‘Domplatz, Mailand,’ a masterful black & white photograph capturing Milanese grandeur—a testament to realism infused with aged aesthetic qualities.

    Fashion Forward Inspiration:

    Águeda Isabel Ruiz de la Prada’s ‘Dress with Synthetic-Suede Squares,’ presented during Milan Fashion Week, exemplifies the platform's commitment to showcasing artistic collaborations and pushing creative boundaries.

    Notable Artists & Creative Voices

    THAT’S CONTEMPORARY spotlights Italian artists who are shaping the future of art. Massimo Kaufmann, renowned for his expansive paintings, embodies the spirit of Milanese artistic tradition while simultaneously embracing innovation. Similarly, elisabetta gut's sculptures and installations delve into themes of confinement and fragility—reflecting a thoughtful engagement with contemporary concerns. Daniele Innamorato’s collaborative work as founder of Kings Collective underscores the platform’s dedication to fostering collective creativity and pushing artistic boundaries.

    Viafarini: An Architectural Canvas

    The Viafarini gallery complex serves as an integral part of THAT’S CONTEMPORARY's narrative. Designed by architect Marco Zanuso Jr., this building embodies Milanese architectural modernity—a space deliberately conceived to stimulate artistic dialogue and showcase experimental exhibitions. Its expansive layout encourages exploration and contemplation, mirroring the platform’s ethos of fostering engagement with cutting-edge art.

    A Unique Perspective on Contemporary Art

    THAT'S CONTEMPORARY distinguishes itself from conventional museums by prioritizing active participation and disseminating knowledge beyond physical walls. It operates as a dynamic online resource—a vibrant hub for artistic discovery—solidifying its position as an indispensable guide for anyone wishing to experience Milan’s flourishing contemporary art scene.

    詳細はこちら

    オンラインで探す

    random dot grid pattern v 73-121のダウンロードページへつながるQRコード

    wikioo.org/ja/art/download/herman-de-vries-random-dot-grid-pattern-v-73-121-D73UX4-en/

    この作品を引用する

    MLA
    Vries, Herman de. random dot grid pattern v 73-121. 1973, THAT'S CONTEMPORARY. https://wikioo.org/ja/art/herman-de-vries-random-dot-grid-pattern-v-73-121-D73UX4-en/
    APA
    Vries, Herman de (1973). random dot grid pattern v 73-121 [Painting]. THAT'S CONTEMPORARY. https://wikioo.org/ja/art/herman-de-vries-random-dot-grid-pattern-v-73-121-D73UX4-en/
    Chicago
    Herman de Vries. random dot grid pattern v 73-121. 1973. THAT'S CONTEMPORARY. https://wikioo.org/ja/art/herman-de-vries-random-dot-grid-pattern-v-73-121-D73UX4-en/
    Harvard
    Vries, Herman de (1973) random dot grid pattern v 73-121. THAT'S CONTEMPORARY. Available at: https://wikioo.org/ja/art/herman-de-vries-random-dot-grid-pattern-v-73-121-D73UX4-en/

    細部まで見る

    random dot grid pattern v 73-121 — Herman de Vries

    細部を詳しく見る

    ご自身の言葉で回答してください。正解はありません。大切なのは、その答えを説明できるかどうかです。

    1. まず最初に目に飛び込んでくるのはどこですか?また、それはなぜでしょうか?
    2. どのような色や形がその情緒を作り出しているでしょうか。そして、それはどのような情緒なのでしょうか。
    3. このガイドの前述にある from the streets of amsterdam (2015) を改めて振り返ってみましょう。この作品と共通する点を2つ、そして異なる点を1つ挙げてください。
    4. Herman de Vries は、この作品の制作当時 42 歳でした。作品のどのような点に、その時期のアーティストらしい特徴が見て取れるでしょうか。
    5. アーティストは、あなたにどのような感情を抱いてほしかったのでしょうか。

    回答内容

    この作品について短い文章を書いてください。本ガイドの前半部分に記載されている事実と、上記での回答内容を活用してください。

    Q&A

    Herman de Vries作「random dot grid pattern v 73-121」の制作時期はいつですか?

    「random dot grid pattern v 73-121」は1973年の作品です。この制作年は、Herman de Vriesのキャリアおよび当時の時代背景において、本作を位置づけるものです。

    Herman de Vries作「random dot grid pattern v 73-121」に似た作品はどこで見つけることができますか?

    Herman de Vries作「random dot grid pattern v 73-121」の関連作品ページでは、関連する作品をご紹介しています。

    Herman de Vries作「random dot grid pattern v 73-121」では、どのような配色が使われていますか?

    Herman de Vries作「random dot grid pattern v 73-121」は、Monochromeなカラーパレットを使用しています。この配色は、作品全体の色彩的特徴を象徴しています。