趙力
作為20世紀(jì)中國(guó)美術(shù)史上的重要藝術(shù)家，顏文樑較早地進(jìn)入到了美術(shù)史研究者的視野。從目前的研究基礎(chǔ)而言，其文獻(xiàn)圖像資料相對(duì)比較分散，至今未見類似全集性的出版物，這不能不說是現(xiàn)實(shí)中的某種缺憾。
民國(guó)時(shí)期顏文樑的文獻(xiàn)資料，散見于當(dāng)時(shí)的報(bào)刊與雜志，相對(duì)較為集中的則見于蘇州美術(shù)專科學(xué)校的校刊《滄浪美》和《藝?yán)恕贰！稖胬嗣馈罚瑒?chuàng)刊于1928年，由黃覺寺任主編，每期約10余頁(yè)，共出版3期，畫集1卷，由蘇州文新印刷公司承印。1934年《滄浪美》改刊名為《藝?yán)恕罚?6開本，鉛字精印，并用銅版精印加上三色版彩印，仍由黃覺寺主編，印刷制版由本校工場(chǎng)承擔(dān)。抗戰(zhàn)期間《藝?yán)恕吠？?947年復(fù)刊，行銷全國(guó)，以圖文并茂、精美印刷獲得好評(píng)。縱觀《滄浪美》、《藝?yán)恕罚佄臉旁趯懜鍞?shù)量和作品刊發(fā)上都占到了最重要的位置，因此這兩本校刊也就成為了研究民國(guó)時(shí)期顏文樑的藝術(shù)思想和藝術(shù)創(chuàng)作的重要文獻(xiàn)資料。
20世紀(jì)50年代的顏文樑，不僅以其飽滿的創(chuàng)作熱情為我們提供了更加豐富的視覺資料，也通過出版的方式為后世的研究提供了可靠的文獻(xiàn)依據(jù)。1957年上海人民美術(shù)出版社出版顏文樑所著《美術(shù)透視學(xué)》一書，藝術(shù)家結(jié)合自己的創(chuàng)作經(jīng)驗(yàn)，系統(tǒng)介紹了美術(shù)創(chuàng)作中的透視學(xué)原理，并將透視學(xué)視為有效分析和掌握錯(cuò)綜復(fù)雜物象的基礎(chǔ)，充分反映了顏文樑對(duì)科學(xué)與理性之藝術(shù)原則的強(qiáng)調(diào)。1959年上海人民美術(shù)出版社出版的《顏文樑畫集》，彩色印刷，雖然沒有囊括更多的藝術(shù)家作品，但是濃縮了顏文樑在50年代之前的重要代表作品，無疑是藝術(shù)家重要的圖像出版資料之一。此外同年由浙江人民美術(shù)出版社出版的《顏元摹任伯年畫稿》，為顏文樑為其父所編，是研究顏文樑的家庭藝術(shù)背景以及早期藝術(shù)淵源的重要參考。
新時(shí)期之后的顏文樑，在1978年由上海人民美術(shù)出版社出版所著的《色彩瑣談》，該書針對(duì)色彩學(xué)的原理，進(jìn)行了系統(tǒng)而細(xì)致地論述，對(duì)改革開放初期美術(shù)界的撥亂反正和關(guān)于“形式美”的討論具有了重要意義。80年代以后顏文樑曾多次出版?zhèn)€人畫集，如1985年上海美術(shù)出版社出版的《顏文樑畫集》，收入了藝術(shù)家各個(gè)時(shí)期的重要作品，尤其是50年代以后創(chuàng)作的作品；此外像《顏文樑粉畫集》、《顏文樑水彩畫集》等的出版，也使得研究者可以借此看到了一個(gè)更為全面的藝術(shù)家的創(chuàng)作面貌。1982年由林文霞整理、北京學(xué)林出版社出版的《顏文樑?現(xiàn)代藝術(shù)家，畫論、作品、生平》，無疑是有關(guān)顏文樑的迄今為止最全面、最系統(tǒng)的文獻(xiàn)總匯，該書于1996年精裝再版。全書分“序”、“畫論”、“生平”、“作品”等4個(gè)部分，如自序所言，“本書并非一嚴(yán)密的理論著作，僅系我長(zhǎng)期藝術(shù)活動(dòng)中一些情況與個(gè)人點(diǎn)滴經(jīng)驗(yàn)”，“其中有些資料，系從我原有舊文摘錄或改寫，部分則根據(jù)我最近講述記錄整理而成”，因此其文字既彌補(bǔ)了可能的歷史缺環(huán)，又具有總結(jié)概括的特征，是對(duì)顏文樑藝術(shù)人生和思想變遷進(jìn)行深入研究的重要資源。除了顏文樑的舊文摘錄和口述記錄之外，全書附彩圖12件，黑白圖片103件，為80年代最全面的一次作品著錄；莫樸、盧鴻基的序文，在回憶中融入眷眷情愫；錢伯城撰寫的“顏文樑先生年表”，仍為迄今最為詳盡的藝術(shù)家年表，具有很好的資料價(jià)值，唯可惜戛然于1982年而并非完整；而黃覺寺的“顏文樑和蘇州美專”，文雖簡(jiǎn)短，但從藝術(shù)家與蘇州美專的關(guān)系入手，確立了顏文樑在中國(guó)美術(shù)教育史的地位與作用，開啟了觀察的新孔徑，豐富了研究的方法與角度。
20世紀(jì)的90年代，有關(guān)顏文樑的研究漸為豐富。其中大量由顏文樑的同事、學(xué)生在其過世之后陸續(xù)發(fā)表的紀(jì)念性、回憶性文章，為研究者提供了更廣泛、更全面的歷史資料，對(duì)于進(jìn)一步勾勒和還原藝術(shù)家的生平、活動(dòng)、創(chuàng)作、從教、交游等歷史情境具有很大的幫助。90年代末關(guān)于20世紀(jì)中國(guó)油畫的研究逐漸為人重視，其中如李超關(guān)于上海油畫史的研究、劉新關(guān)于20世紀(jì)上半葉中國(guó)油畫史的研究，都涉及到了顏文樑的藝術(shù)創(chuàng)作、藝術(shù)觀念和美術(shù)教育諸方面的成就，并進(jìn)一步確立了其在20世紀(jì)中國(guó)美術(shù)史上的歷史地位。關(guān)于顏文樑的個(gè)案性研究，則以尚輝的《顏文樑研究》為代表，該書于1993年由江蘇美術(shù)出版社出版。《顏文樑研究》，全面而系統(tǒng)地研究了顏文樑的生平、藝術(shù)創(chuàng)作和藝術(shù)思想，在風(fēng)格分期、美術(shù)教育、創(chuàng)作影響等方面進(jìn)行了深入闡述，該書還附有272件顏文樑的水彩與油畫作品，超越了80年代的資料基礎(chǔ)，同時(shí)作者通過爬梳原始資料和口述史方法所獲得的文獻(xiàn)證據(jù)，也極大地豐富了研究者對(duì)顏文樑的認(rèn)識(shí)。
進(jìn)入21世紀(jì)，有關(guān)的畫集出版是以2002年上海畫報(bào)出版社的《顏文樑油畫集》為代表，基本涵蓋了“佛羅倫薩”、“羅馬遺跡”、“普陀山門”、“玉帶橋”、“豫園”、“北海雨景”等代表性的油畫作品；此外，2006年蘇州美術(shù)館成立80周年之際，推出的“顏文樑畫展”以及相關(guān)的活動(dòng)，在資料整理方面為研究者提供了更多的線索和角度；2009年由中國(guó)現(xiàn)代美術(shù)出版社刊發(fā)的《滄浪掇英——蘇州美專八十六周年紀(jì)念專輯》，則以顏文樑為中心，將資料整理和研究的范圍，拓展至整個(gè)蘇州美專發(fā)展演變的歷史背景和文化線索。
21世紀(jì)以來，一些回憶性的文章依舊豐富而發(fā)展有關(guān)顏文樑的研究資料，其中以顏文樑學(xué)生尤玉琪，2008年發(fā)表于《南京藝術(shù)學(xué)院學(xué)報(bào)》的“我愛吾師——緬懷顏老夫子”為代表。
在顏文樑的藝術(shù)創(chuàng)作方面，2006年西北師范大學(xué)的牛二春和南京師范大學(xué)的沈建華分別以“顏文樑油畫藝術(shù)研究”、“顏文樑繪畫藝術(shù)研究”為題完成了各自的碩士論文。其中沈建華的“顏文樑繪畫藝術(shù)研究”，以顏文樑不同時(shí)期的繪畫作品為線索，將其繪畫風(fēng)格分為兩大階段，即再現(xiàn)寫實(shí)和表現(xiàn)寫意階段，并從新文化運(yùn)動(dòng)、民族風(fēng)格及其它因素(繪畫市場(chǎng)、社會(huì)政治、自身性格等)的影響方面闡釋了顏文樑風(fēng)格形成和轉(zhuǎn)變的原因，總結(jié)了顏文樑在藝術(shù)上所取得的成就及其在引進(jìn)西方油畫和油畫中國(guó)化等方面所做出的貢獻(xiàn)。2009年顧丞峰的“顏文樑藝術(shù)創(chuàng)作分期及相關(guān)問題研究”發(fā)表于《南京藝術(shù)學(xué)院學(xué)報(bào)》，作者在綜合各家關(guān)于顏文樑創(chuàng)作階段分期的基礎(chǔ)上發(fā)表自己的觀點(diǎn)，探討了顏文樑作品與印象派的關(guān)系、與中國(guó)藝術(shù)傳統(tǒng)的關(guān)聯(lián)，以及關(guān)于顏文樑作品是習(xí)作還是創(chuàng)作的判定標(biāo)準(zhǔn)，同時(shí)對(duì)顏文樑在中國(guó)現(xiàn)代美術(shù)歷史上的定位提出了自己的看法。2009年美國(guó)芝加哥大學(xué)藝術(shù)史研究所的蘇文惠在德州奧斯汀舉辦的亞洲研究協(xié)會(huì)西南會(huì)議上，發(fā)表了題為“旅行過去，體驗(yàn)現(xiàn)代：顏文樑作品中的羅馬古跡再現(xiàn)”一文，作者以1930年顏文樑在羅馬旅行中以羅馬廢墟為題創(chuàng)作的3張油畫作品為切入角度，運(yùn)用視覺分析和圖像學(xué)的方法，揭示了畫家融合中外藝術(shù)傳統(tǒng)的創(chuàng)作觀念，同時(shí)認(rèn)為要成功解讀顏文樑作品的意義，則必須從跨文化的宏觀角度加以觀察，反映出了年輕一代學(xué)者的思考和拓展。
有關(guān)顏文樑歷史地位的研究，包括2004年姚蘇發(fā)表于《蘇州大學(xué)學(xué)報(bào)》的“顏文樑與寫實(shí)主義”，將顏文樑視為中國(guó)近現(xiàn)代寫實(shí)主義繪畫的先驅(qū)者之一，并認(rèn)為藝術(shù)家在藝術(shù)創(chuàng)作上的寫實(shí)主義取向、對(duì)藝術(shù)“真實(shí)”的追求和對(duì)繪畫“科學(xué)”觀的認(rèn)識(shí)，以及其引進(jìn)西方美術(shù)教育模式、傳播西方寫實(shí)繪畫藝術(shù)的理論和技巧、創(chuàng)辦蘇州美術(shù)專科學(xué)校等歷史功績(jī)，對(duì)于寫實(shí)主義繪畫在近現(xiàn)代中國(guó)的發(fā)展起到了不可替代的作用；2006年李劍南在《美術(shù)界》發(fā)表的“從顏文樑到當(dāng)代蘇南油畫的發(fā)展談起”，則是通過對(duì)顏文樑的藝術(shù)研究，思考當(dāng)代蘇南油畫的創(chuàng)作現(xiàn)狀，思考中國(guó)油畫的現(xiàn)狀和未來之路。
有關(guān)顏文樑美術(shù)教育貢獻(xiàn)方面的研究，包括2004年陸宇澄、劉丹在《蘇州大學(xué)學(xué)報(bào)》發(fā)表的“顏文樑與蘇州美專”，通過對(duì)資料的爬梳研究，指出顏文梁與蘇州美專對(duì)我國(guó)近現(xiàn)代美術(shù)教育的推動(dòng)意義。2004年趙思有在《蘇州大學(xué)學(xué)報(bào)》發(fā)表的“劉海粟、徐悲鴻、顏文樑美術(shù)教育思想與作品的比較研究”，通過對(duì)劉海粟、徐悲鴻、顏文樑三位美術(shù)教育家的教育思想和藝術(shù)創(chuàng)作的比較研究，分析了共性與個(gè)性，并強(qiáng)調(diào)他們的教育思想對(duì)當(dāng)代美術(shù)教學(xué)改革和創(chuàng)作發(fā)展具有借鑒和參考的價(jià)值。2008年南京藝術(shù)學(xué)院碩士研究生李潔璇，以“工場(chǎng)教育制度的引入和顏文樑實(shí)用美術(shù)教育思想”為題，從不同側(cè)面詳細(xì)論述了蘇州美專實(shí)用美術(shù)科的教學(xué)和實(shí)習(xí)情況，體現(xiàn)出顏文樑實(shí)用美術(shù)教育思想在當(dāng)時(shí)社會(huì)條件下的創(chuàng)新性和現(xiàn)實(shí)意義，對(duì)當(dāng)代實(shí)用美術(shù)教育的啟迪，并進(jìn)一步確立了顏文樑作為新式美術(shù)教育先驅(qū)者的地位，以及不同于別人的美術(shù)教育貢獻(xiàn)。
此外，2008年唐濤在《中國(guó)收藏》雜志上發(fā)表的“陳澄波VS顏文樑”，則體現(xiàn)出更為綜合的研究方法。該文以顏文樑作品的藝術(shù)市場(chǎng)研究為新的角度，通過與臺(tái)灣老一輩藝術(shù)家的行情對(duì)比，最終反映出國(guó)內(nèi)相關(guān)學(xué)術(shù)研究的薄弱現(xiàn)狀，以及目前國(guó)內(nèi)市場(chǎng)在推廣上的“價(jià)值缺位”與“能力不足”。
Yan Wenliang in Art History Studies
Zhao Li
As an important artist of the Chinese fine arts history in the 20th century, Yan Wenliang entered the fine arts history researchers’ sight at a very early stage. Concerned with the current research foundation, the literature documents and images are scattered and a complete works of publication has never been found till now, which can be seen as a kind of regret in the real world.
During the period of the Republic of China, Yan Wenliang ’s literature works were partially found in the newspapers and magazines and some more centralized works appeared in the school journals ‘Cang Lang Mei’ and ‘Yi Lang’ of Suzhou Art School. ‘Cang Lang Mei’, initiated in 1928 and with Huang Juesi as the chief editor, had been published 3 terms of more than 10 pages each term and one painting album, which were printed by Suzhou Wenxin printing firm. Renamed as ‘Yi Lang’ in 1934, the journal, in 16 folio and type font, was trichromaticaly printed with coated paper. It was chiefly edited by Huang Juesi and was printed in graphic arts by the school workshop. The journal ‘Yi Lang’ which was suspended during the Anti-Japanese War and resumed in 1947 become popular around the country and was appreciated for its combination of articles and pictures as well as the exquisite printing. As Yan Wenliang played an important role in the respect of article writing amount and the works publishing, the two school journals ‘Cang Lang Mei’ and ‘Yi Lang’ became the key literary documents in studying Yan Wenliang ’s artistic idea and creation during the Republic of China.
In the 1950s, Yan Wenliang not only created more of rich visual documents with his full creative passion but also provided his successors with reliable literary works by the way of publication. In 1957, Shanghai People’s art publishing house published the book ‘Fine Arts Perspective’ written by Yan Wenliang in which the artist gave a systemic introduction of the perspective principle in the fine arts creation combined with his own creative experience. He interpreted the perspective as the basis for analyzing effectively and acquiring complicated objects, which fully reflected his emphasis on the fine arts principles in science and rationality. Color printed, the publication ‘Yan Wenliang Collection of Painting’ published by Shanghai People’s fine arts publishing house in 1959 was, no doubt, one of the significant image publications of the artist, which concentrated some important works of Yan Wenliang at the time before the 1950s though without more artists’ works. In addition, ‘Yan Yuanpan Ren Bonian Sketches’ published by Zhejiang People’s fine arts publishing house in the same year and edited by Yan Wenliang’s father was seen as the key reference for studying Yan Wenliang’s family background in fine arts and the early fine arts origin.
During the period after the New Time, Yan Wenliang wrote ‘Se Cai Suo Tan’ which was published by Shanghai People’s Fine Arts Publishing House in 1978. The book, containing a systemic and detailed discussion in chromatic principles, played a significant role in setting things right of the fine arts field at the early stage of the reform and opening up policy as well as the discussion in ‘formal beauty’. After the 1980s, Yan Wenliang published many personal painting albums such as ‘Yan Wenliang Collection of Paining’ published by Shanghai Fine Arts Publishing House in 1985 which collected the artists’ important works at different times and the works after the 1950s in particular. Besides, with the publishing of ‘Yan Wenliang’s Gouache Collection’ and ‘Yan Wenliang’s Watercolor Painting Collection’, researchers could see a more comprehensive picture for the artist’s creation. ‘Yan Wenliang?Modern Artist, Painting Theory, Works and Biography’ edited by Lin Wenxia and published by Beijing Xuelin Publishing House in 1982 has been the most comprehensive and systemic literary collection related to Yan Wenliang till now. Bound and revised in 1996, the book consisted of 4 sections including Preface, Paining Theory, Biography, and Works and as what the preface says: ‘Instead of being a tight theoretic work, the book tells some stories and personal experience in my long time artistic activities’ and ‘some of the information stems and is revised from my original articles while others are managed with my recent oral records’. Therefore, the words of the book which make up the possible historical flaws and processes feature of summary are the significant resource for conducting profound studies in Yan Wenliang’ s artistic life and his idea changes. The book, except for Yan Wenliang’ s old literary works and oral records, included 12 color pictures and 103 black and white pictures, known as the most comprehensive works collection in the 1980s; in the prefaces by MO Pu and Lu Hongji finded the emotion and yeans in the memory; ‘Sir Yan Wenling’s Chronology’ written by Qian Bocheng was the most detailed artist’s chronology now and had a documentary value but was uncompleted due to the suspension in 1982; In the respect of links between the artist and Suzhou Art Collage,‘Yan Wenliang and Suzhou Art College’ written by Huang Juesi, with its simple and short articles, established the position and role of Yan Wenliang in education on Chinese fine arts history, which opened a new way for observation and enriched the methods and angles in research.
In the 1990s, with more studies on Yan Wenliang among which are memorial articles published by his students after he passed away provided researchers with more extensive and comprehensive historical documents. The studies were very useful in further describing and recovering some historic scenes of the artist’s life, activities, works, teaching and communication. At the end of 1990s, the researches on the 20th century’s Chinese oil-painting history were all related with Yan Wenliang’s achievement in his artistic creations, artistic ideas and fine arts education and further proved his historical position in the 20th century’s Chinese fine arts history. As far as Yan Wenling’s individual case studies concerned, ‘Research on Yan Wenliang’written by Shang Hui is a reprehensive which was published in 1993 by Jiangsu fine arts publishing house. The book conducts an overall and systemic research on Yan Wenliang’s life, artistic creation and ideas, discussing in depth the various styles, education on fine arts, creation influence and so on. There were also 272 pieces of watercolor paintings and oil paintings by Yan Wenliang in the book, which surpassed the documents in the 1980s. Meanwhile, the literature evidence gained by the writer through sorting out original documents and the method in oral history greatly enriched researchers’ understanding in Yan Wenliang.
With the entry of 21st century, the relevant painting collection publications were represented by ‘Yan Wenliang Oil Painting Collection’ published by Shanghai pictorial publishing house in 2002, which basically covered some representative oil painting works such as ‘Florence‘, ‘Rome Relic‘, ‘Mount Putuo Gate‘, ‘Jade Belt Bridge ‘, ‘Yu Garden‘ and ‘Raining Scene of North Sea‘, etc. Moreover, ‘Yan Wenliang Art Exhibition’ and its related activities at the 80th anniversary of Suzhou Art Gallery establishment in 2006 offered researchers more clues and angles in the respect of processing of data. In 2009, China Modern Art Publishing House published ‘Cang Lang Duo Ying—Memorial Album for the 86th anniversary of Suzhou Art College’ which extended the range of document editing and research to the historical background and cultural clues of the whole Suzhou Art College’s development.
As regards with Yan Wenliang’s artistic creation, Niu Erchun from Northwest Normal University and Shen Jianhua at Nanjing Nomal University completed their master thesis with ‘Research on Yan Wenliang’ s Oil Painting Arts ‘ and ‘Research on Yan Wenliang’s Art Painting’ respectively in 2006. With Yan Wenliang’s painting works at different times as the clues, ‘Research on Yan Wenliang’s Art Painting’ written by Shen Jianhua divided his drawing style into two periods, representation of reality and freehand expression. The work explained the reasons of Yan Wenliang’s style formation and changes under the influences of New Culture Movement, Chinese national styles and other factors (painting market, social politics, personalities and so on) and summarized the achievement he gained in fine arts and contribution he made in the aspects of introducing and sinicizing western oil painting, etc. In 2009, ‘Research on Yan Wenliang’s Artistic Creation Periods and relevant issues’ in ‘Nanjing Artistic College Journal’ was written by Gu Chengfeng who stated his own opinions based on Yan Wenliang creation periods and explored the relations between his works and impressionism as well as the Chinese arts tradition. He also outlined a standard for identifying exercise works from creation in Yan Wenliang’s works while proposed his own ideas in the position of Yan Wenliang in the Chinese modern fine arts history. Su Wenhui who worked at the research institute for fine arts history at Chicago University in 2009 published the article with the title ‘Traveling in the past, Experiencing the modern time: The representation of Rome historical site in Yan Wenliang’s works’ at the southwest meeting for the Asian Research Association held in Austin , Texas . With the three oil paintings of Rome ruins theme created by Yan Wenliang during the trip in Rome in 1930 as the article’s approach, the writer applied the methods of visual analyses and iconography to reveal the painter’s creative idea of combining the Chinese and foreign artistic traditions. In order to successfully understand the meanings of Yan Wenliang’s works, the writer also thought that it was necessary to observe from a trans-cultural and macroscopic sight, which reflected the thought and idea expansion of the younger generation.
The studies on the historical position of Yan Wenliang, including ‘Yan Wenliang and Realism’ in ‘Suzhou University Journal’ issued by Yao Su in 2004, regarded Yan Wenliang as one of the pioneers in the Chinese realism painting at modern times. The writer also believed that Yan played an irreplaceable role in his realism approach in artistic creation, pursuit of ‘real’ arts and acknowledge of ‘scientific’ painting, applying the western artistic education pattern, promoting the theories and skills of western realistic art painting, some historical achievement such as establishing Suzhou Arts School and the development of realistic painting in China at modern times. In 2006, Li Jiannan published his ‘Talks from Yan Wenliang to the Development of Modern Sunan Oil Painting’ in ‘Artistic Circle’, which reflected on the current creation situation of Sunan oil painting as well as the current states and future development of the Chinese oil painting through Yan Wenliang’s artistic research.
In the aspect of studies on Yan Wenliang’s artistic education contribution which includes ‘Yan Wenliang and Suzhou Art College’ issued by Lu Yucheng and Liu Dan in ‘Suzhou University Jounral’ in 2004 appointed out, by the way of sorting out documents, the promoting significance of Yan Wenliang and Suzhou Art College for the Chinese artistic education at modern times. The article ‘Comparative Study of Liu Haili, Xu Beihong and Yan Wenliang’s artistic education ideas and works’ published by Zhao Si in 2004 in ‘Suzhou University Journal’ analyzed the commonness and individuality through the comparative study on the three artistic educators, Liu Haili, Xu Beihong and Yan Wenliang’s education ideas and artistic creation and emphasized the reference values of their educational ideas in the modern artistic teaching reform and creation development. In 2008, a graduate student Li Jiexuan from Nanjing Art College wrote the article ‘the Introduction of Factory Education System and Yan Wenlialng’s Ideas on Practical Arts Education’ through which the writer, in different sides, gave a detailed discussion in the teaching and practice situations of practical arts at Suzhou Art College. The article presented the innovation, realistic meanings as well as the enlightenment for the practical artistic eduction of Yan Wenlikang’s ideas on practical artistic education in the social conditions at the time and further established the Yan Wenliang as the forerunner in the new artistic education and his unique contribution in artistic education.
Besides, ‘Chen Chengbo VS Yan Wenliang’ issued by Tang Tao in ‘China Collection’ in 2008 displayed a more comprehensive research method. The article took the studies on Yan Wenliang’s works at the art market as a new point of view and finally reflected the weak situation of related academic researches in China and the vacancy in value and inadequacy of ability in the promotion of the current domestic market after compared with the older generation of Taiwan artists.