皮爾·羅伊全部影視作品
首發(fā)于 qinglite.cn，統(tǒng)計(jì)截止日：2026-01-20
 被困的安德洛墨達(dá) | - |
| 金星的誕生 | - |
| 財(cái)富在休息 | - |
| 仙女管 | - |
| 大船 | - |
| 靜物：瓶子和布列塔尼帽子 | - |
| 無題 | - |
| 預(yù)測 | - |
| 菠蘿 | - |
| 準(zhǔn)備桶 | - |
| 室內(nèi)（巴黎公寓的入口） | - |
| 鮑里斯·安瑞普在他的工作室，阿拉果65大道 | This is portraiture at one remove: a painting of an imagined carved likeness. In it Pierre Roy turns his friend and fellow-artist, the mosaicist Boris Anrep, to stone. Through a characteristic manipulation of perspective, Roy manages to convey a sense of monumentality to the bust, which appears to tower over the studio behind. Though the painted sculpture is solemn and restrained, Roy’s perspective creates an odd effect like a cinematic zoom in which an object is suddenly brought into dramatic focus. |
| 加州罌粟11號(hào) | - |
| 蝴蝶犬 | - |
| 菜花 | - |
| 女畫家 | - |
| 自然主義者的習(xí)作 | Like several of the Surrealists, with whom he exhibited in 1925, Pierre Roy used a precise style to portray an uncertain reality. A Naturalist’s Study alludes to the nineteenth-century concern with scientific classification and order. However, the relationship between these curious objects, including a paper snake and a string of eggs, remains mysterious. The artist’s son described this work as portraying a strangely motionless world: ‘Life seems to have stopped and become fixed like the locomotive itself in front of a chance or imaginary obstacle’. |
| 壞種子 | - |
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