来自美国视觉艺术家玛丽莲·明特（Marilyn Minter）的新女性主义肖像画，一场与古希腊艺术和印象派的对话

长期以来，玛丽莲·明特（生于1948年）划出了一个介于古典和商业之间的空间。她的摄影作品有着绘画的虚幻和跳跃，而她的绘画有着以假乱真的写实性，关注所有夸张的自然纹理——无论是年轻女子脸上的绿松石眼影，还是高跟鞋底的闪光砂砾。这本专著介绍了她最近的作品：2009年的摄影作品《绿粉鱼子酱》和十几幅画作，以及这些作品背后的创作过程。

在最近的绘画系列中，明特受到从古希腊到早期印象派的女性沐浴者的启发，提供了一个现代版本：女性在现代淋浴器中放松和清洗自己，她们的脸和身体被玻璃上的冷凝薄膜部分遮挡，与观众隔开。在一些图片中，女性在玻璃后面显得很模糊；而在其他图片中，沿着玻璃流下的水流足以让人识别出脸部或身体的某个部分。这种视觉效果是在挑战整个艺术史上的男性凝视目光。

New feminist portraiture from Marilyn Minter, in dialogue with ancient Greek art and Impressionism

American visual artist Marilyn Minter (born 1948) has long cultivated a space between the classical and the commercial for her photorealistic paintings and visceral photographs. Minter’s art is characterized by an emphasis on natural textures in all of their extremes―whether that of the turquoise eyeshadow on a young woman’s face or the glittery grit on the underside of a high-

heeled shoe. This monograph dedicated to her recent works presents her 2009 film Green Pink Caviar and a dozen monumental paintings as well as the processes behind such works.

In her most recent painting series, Minter is inspired by classical representations of the female bather as an artistic subject from ancient Greece to early Impressionism. She offers a contemporary version of this figure: her female subjects relax and wash themselves in modern showers, their faces and bodies partially obscured by a film of condensation on the glass separating them from the viewer. In some images the women appear as a mere blur behind the glass; in others, the rivulets of water that course down the glass plane reveal enough to identify a face or body part. The effect is a sensuousness that defies the male voyeuristic gaze seen throughout art history.