Tuymans' monochromatic palette and choice of subject matter - domestic interiors, commonplace objects or family portraits - link painting with post-war filmmaking and amateur photography. The sources of other images on his canvases give his work a brooding violence. Although modest in scale and sensitive in execution, this work is powerful in its haunting evocation of lost lives and repressed histories. In general Tuymans' works are painted in groups for each show and with the venue and the exhibition space in mind. For example, when he represented his country in the Belgian Pavilion at the 2001 Venice Biennial, Tuymans produced a cycle of works based on the murder of the first post-independence Prime Minister of the Congo, Patrice Lumumba. Other works in the cycle show images of African sculpture copies from a statue in a Belgian restaurant and images from the Belgian Royal Museum's African collection. These works raised issues about colonialism and post-colonialism, but also came at a time when a parliamentary commission was investigating the links between the Belgian government and royal family's policies and the death of Lumumba.
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帶我進入當代藝術大門的書……
评分他媽的畫冊有纔想起來
评分在他那些模糊冷淡、粗糙隨意的繪畫中呈現瞭沒有任何宜人的愉悅和美感，它們仿佛長時間曝曬於日光之下，因強光和歲月而褪色、陳舊。淡薄的顔色與粗糙的輪廓綫看起來漫不經心，裁切的局部和歪斜的構圖則顯得混亂不安。但正是這樣一種平凡無奇，使圖伊曼斯繪畫中空茫的圖像十分醒目，錶象的遲鈍、笨拙亦使作品變得難以捉摸。它們錶現災難、痛苦與虛無，所有這些情緒都需要細心審視，多數時候依靠作品標題來解讀，並對主題的潛颱詞瞭如指掌。這些繪畫將人置於憂鬱和孤獨的睏境，看似平庸的視覺經驗卻以其莫名的狡黠和超然，朦朦朧朧地滲入我們的記憶。
评分他媽的畫冊有纔想起來
评分在他那些模糊冷淡、粗糙隨意的繪畫中呈現瞭沒有任何宜人的愉悅和美感，它們仿佛長時間曝曬於日光之下，因強光和歲月而褪色、陳舊。淡薄的顔色與粗糙的輪廓綫看起來漫不經心，裁切的局部和歪斜的構圖則顯得混亂不安。但正是這樣一種平凡無奇，使圖伊曼斯繪畫中空茫的圖像十分醒目，錶象的遲鈍、笨拙亦使作品變得難以捉摸。它們錶現災難、痛苦與虛無，所有這些情緒都需要細心審視，多數時候依靠作品標題來解讀，並對主題的潛颱詞瞭如指掌。這些繪畫將人置於憂鬱和孤獨的睏境，看似平庸的視覺經驗卻以其莫名的狡黠和超然，朦朦朧朧地滲入我們的記憶。
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