Beeld en betekenis in die skilderkuns van Fred Page

[摘要] English: The apparent unreality of the fictitious reality captured in Fred Page's art causes the observer to experience difficulty in gaining access to the meaning encompassed by the art. The reason for this perception could be Page's philosophy and preferences with regard to his portrayals.This study attempts to gain access to the way in which Page conveys meaning. A comprehensive overview of Page's art is not intended but rather the nature of his artistic approach will be researched through a selection of representative items from the whole body of his work.The interaction between Page and his environment is examined in Chapter 2 by referring to relevant events from his youth, adult life and the Port Elizabeth milieu. The relationship between awe-inspiring elements in surrealistic dream painting, Freud's uncanny and Benjamin's aura concept in Page's dialectic leads to the reintroduction of forgotten human dimensions which have been alienated throughsuppression. Page is sensitive to the 'aura' of and 'uncanny' in ordinary 'found' objects.The response of critics and the art public who do not regard Page's art as part of the evolution of South African art but rather as supplementary to it, is investigated, as well as the lack of predecessors and disciples.In Chapter 3 characteristics of 'fantasy art', the subconscious meaning of Redon, Rousseau and Seurat is identified. Attention is given to Page's fantasy world, the attendant fantasy meaning and mystery, Magritte's surrealist multireality as well as Michelle Boyadijan's naiveté. Page's sublime differs from fantasy art owing to the lack of witchcraft and magic in his art. Page's dream painting correlates with that of Magritte. His image riddles contain hyperbolic repetitions, irrational combinations, transfers from natural contexts and dislocation through light contrasts, space and scale adjustments. The consequence is that original meanings are overshadowed by suggestion.Page's idiosyncratic approach to society through the creation of tableaux, emblematic constructions, binding bearers of meaning and conflict of dimensions is identified in Chapter 4. Page is obsessively dependent on his subject and his environment. The human character stands alone in his art. The human dilemma portrayed includes lack of communication, poor inter-personal relationships and inevitable death.The shape of meaning as well as mutually semantic relationships between ideas and groups of ideas are investigated on the iconic level in Chapter 5. The treasury of Page's motifs is the formal compositional vehicle at semantic level. Recurring elements have been identified. The correlation between these elements and other relevant aspects in Page's world is determined. Accordingly his open enigmaticsublime could be categorized, described and illustrated diagramatically. A basic motif appears, namely 'transient man on his life's journey'.Chapter 6 addresses Page's complex reality. Page's sublime depends on the transformation of new and known objects and the transformation of object structure. The spectator is involved in giving meaning to the black humour because tension is combined with the inner world of conflict and trauma through simplistic intellectual fabrication. Meaning in Page's art can be frightening because of associationsrelated to the objects portrayed.His art is multi-layered: mystery resides in the integration of various levels of reality through the composition of motifs. His aim is not to establish the associations as truth, but to create a new reality. The sublime resides in the potential of motif presence.Because his images are created as a conscious 'dream' there is the possibility of anintermediate scheme between allegory and symbolism. Page offers an alternativeexplanation of the world.

[发布机构] University of the Free State