The devil克劳迪娅·安杜雅 · 1969
Documentary Photography
1969
73.0 x 110.0 cm
Instituto Moreira Salles
“The devil’s train”“The luggage they brought with them to São Paulo was filled with hope. Some came for work, others were looking for relatives who’d been swallowed up by the big city, others dreamed of recovering their lost health. They all wanted that one thing that for many was no more than a wish: a better life. And now the time had come for them to go back home: a place in the middle of nowhere in Minas, a small town in the backlands of Bahia. With a bundle of clothes and charity train fare, they boarded the red wood cars of the “Bahian train.” Creatures mistreated by fate were heading home with no more hope. The journey is long and arduous.” (article published in Realidade magazine, May of 1969, with text by Patricio Renato)In late February and early March of 1969, Andujar took the long train ride from Roosevelt Station (today Brás) in São Paulo to Salvador, Bahia. The journey lasted 7 days and most of the passengers were migrants from other states who had tried their luck in São Paulo. With no prospects in the capital, they ended up at the Department of Immigration and Colonization of the Secretary of Agriculture of São Paulo state, where they received a boxed lunch and a ticket home. Andujar took the long trip, registering the passengers with admirable empathy.
克劳迪娅·安杜雅(1931 –)
探索克劳迪娅·安杜雅(生于1931年)震撼人心的摄影作品:通过令人难忘的肖像与实验性技法,记录亚诺马米文化并致力于捍卫原住民权利。
Instituto Moreira Salles (里约热内卢, 巴西)
在 IMS 里约探索巴西的艺术遗产!在这里,您可以领略令人惊叹的现代主义建筑、布尔勒·马克思花园,并观赏涵盖摄影、音乐、文学和电影的迷人展览。
关于此作品
- 作品名称: The devil
- 艺术家: 克劳迪娅·安杜雅
- 年份: 1969
- 原尺寸: 73.0 x 110.0 cm
- 规格: Landscape
- 版权状态: 版权保护中
- 所在地: Instituto Moreira Salles
- 创作时期: Mature Period
- 语料上下文: andujar's witness, social justice focus
- 主色调: Phthalo Green
问答详情
"The devil"创作于何时,属于哪种艺术流派?
"The devil"创作于1969年,属于Documentary Photography运动。
克劳迪娅·安杜雅 的《The devil》 的色彩饱和度与强度如何?
“The devil”的色彩饱和度为Muted,色彩强度为Monochromatic。
在克劳迪娅·安杜雅反复探讨的主题中,"The devil"处于怎样的地位?
"The devil" 描绘了 brazilian migration, human condition, social documentary, train journey”, “hope and despair”, “migrant life”, “1960s brazil”,而 克劳迪娅·安杜雅 的创作主题则以 yanomami advocacy, indigenous rights", social justice focus, documenting marginalized, brazilian realism, post-war documentary, humanitarian lens, andujar's witness 见长。通过两者的对比,可以发现此作与艺术家惯用题材之间的内在联系。