小林正人 (画家)
出典: フリー百科事典『ウィキペディア（Wikipedia）』 (2024/04/06 06:25 UTC 版)
小林 正人（こばやし まさと、1957年 - ）は、日本の画家、アーティスト。東京生まれ。キャンバスを張りながら手で描く制作スタイルや、絵画作品を床に置き立てかけた独創性で知られる[1]。
- ^ 「Thrice Upon A Time - ShugoArts」『』。2018年6月2日閲覧。
- ^ 日経LUXE「アートが生まれる場所-画家・小林正人さんのアトリエを訪ねて＜中編＞参照
- ^ 「作品研究 新たなる存在を宣言するタイトル」--小林正人の《絵画=空》をめぐって」保坂 健二朗 現代の眼526 東京国立近代美術館ニュース
- ^ a b 『Thrice Upon A Time』小林正人ShugoArts個展 、佐谷周吾
- ^ 宮城県美術館『小林正人展カタログ1「横溢する明るい場所ー小林正人の絵画」p6-11』和田浩一
- ^ 宮城県美術館『小林正人展カタログ2「オープンディスカッション「小林正人の絵画」」p56-61』 小林正人、ヤン・フート、長谷川祐子、和田浩一、通訳：木幡和枝
- ^ Art Watch Index - Nov. 26, 1996、名古屋覚
- ^ ln 1996 Masato Kobayashi presented two works at the exhibition De Rode Poort: a vertical yellowish orange sea of flames and a monumental, intense red landscape. After the exhibition he changed Tokyo for Ghent. For Kobayashi Ghent is the city of the Mystic Lamb, the central panel of the Ghent Altarpiece, of the Van Eyc brothers, or even of the place where painting could have been born - though of course painting has lain in many a cradle. It is the city where for the first time he lets his works stand directly onto the floor, leaning against the wall. 『A Son of Painting Masato Kobayashi』カタログより Philippe Van Cauteren
- ^ [1]"artscape”小林正人《Unnamed #7》─反重力の光「保坂健二朗」影山幸一
- ^ Kobayashi's work is both a homage to the art of painting and a sort of denial of the achievements of his predecessors - his fellow painters from bygone days. It pays tribute to the art of painting, yet also seems to destroy painting. When an artist expresses himself through a medium with a longstanding tradition, a medium we are very familiar with, what is at stake is not simply the 'what-and-how-question': the question of 'why’ becomes equally important. The work must contain a certain extent of necessity. The public has to sense that the use of the specific medium is a sine qua non for the artist, that there is more involved than the nostalgic desire to continue the achievements of the great masters of a past era. Necessity and desire become one in this instance. What we are confronted with, is an inner conviction, a compelling urge which cannot be ignored. In the case of Kobayashi, I feel the presence of this urge in the work itself. It had to be, and it has to be like this - in this instance not using a brush, but using fingers and hands, elbows and the entire body. It could not be differently. Jan Hoet, 2001『A Son of Painting Masato Kobayashi』カタログより
- ^ 建築ノートNo.3「建築×アート 相思相愛」p56-58]、監修：槻橋修
- ^ 「ART TODAY2012「弁明の絵画と小林正人」」セゾン現代美術館カタログよりp4-8「弁明の絵画」難波英夫、2012年改版
- ^ 「日本のアーティストガイド＆マップ 美術手帳編」美術出版社p15
[続きの解説]
「小林正人 (画家)」の続きの解説一覧
- 1 小林正人 (画家)とは
- 2 小林正人 (画家)の概要
- 3 書籍
- 小林正人 (画家)のページへのリンク
