乔治·卢克斯(George Luks)高清作品《小丑》

作品名：小丑

艺术家：乔治·卢克斯

年代：1929

风格：新现实主义

类型：肖像

美国艺术家在二十世纪头几十年里一心想描绘当代生活的奇观，常常选择马戏团主题和小丑作为题材。约翰·斯隆、埃弗雷特·辛、沃尔特·库恩和乔治·卢克斯是众多认同小丑的画家之一，他们把小丑看成是批评家、流浪者或魔术师，艺术家们也充斥着小丑的角色。卢克斯对小丑提供的娱乐甚至是他们的化妆都不陌生。在他十几岁末二十出头的时候，卢克斯和他的弟弟威尔带着一个名为“Buzzey and An.”的歌舞团表演巡回宾夕法尼亚州和新泽西州，他们唱歌、弹吉他、讲笑话，穿着盛装表演，脸上涂满颜料。甚至卢克斯的行为也有丑陋的一面：酗酒成性，说书老套，还有街头吵架。他的同伴阿什坎画家埃弗雷特·辛把卢克斯描述为“一群马戏团”和“发现马戏团太小而且把他的滑稽动作拖到街上的小丑”。“，”（Everett Shinn）对George Luks：一个未出版的回忆录，“美国艺术档案，1966年4月，第5页”。

Title:A Clown

artist:George Luks

Date:1929

Style:New Realism

Genre:portrait

American artists who were intent on describing the spectacle of contemporary life during the first decades of the twentieth century often chose circus themes and clowns as their subjects. John Sloan, Everett Shinn, Walt Kuhn, and George Luks were among the many painters who identified with clowns, whom they saw as critics, outcasts, or enchanters-roles also filled by artists. Luks was no stranger to the kind of entertainment provided by clowns and even to the makeup they wore. In his late teens and early twenties, Luks and his brother, Will, had toured Pennsylvania and New Jersey with a minstrel show in an act called “Buzzey and Anstock” in which they sang, played guitar, and told jokes, performing in full costume with face paint. Even Luks’s behavior had clownish aspects: a heavy-drinker, inveterate story-teller, and street brawler, Luks was described by his fellow Ashcan painter, Everett Shinn, as “a circus in one” and “the clown who had found the circus ring too small and had dragged his antics out into the streets,” (“Everett Shinn on George Luks: An Unpublished Memoir,” Archives of American Art, April 1966, p. 5).