Books &Arts
Martin Ramirez
52. Spit and crayons
Nov 6th 2008 From The Economist print edition
The animating spirit of life in a psychiatric institution
52-1-236
MARTIN RAMIREZ spent most of his adult life in mental hospitals. He taught himself to paint, using whatever he could lay his hands on: food, pencils, crayons, shoe polish, even his own saliva coloured by chewing up newspaper illustrations. To make the huge pieces of paper he liked to work on, he used newspaper, grocery bags and thin medical-examination sheets, glued together with a paste of spit and mashed potatoes. For decades he has been considered an oddball artist, America's answer to Richard Dadd.
Then in January 2007 the American Folk Art Museum in New York mounted a retrospective of Ramirez's work. Brooke Davis Anderson, the curator, publicised the show in local papers around Auburn, California, where Ramirez had been hospitalised, in the hope that people would come forward with new undocumented works. After a few false leads, she received a brief e-mail from the descendants of Max Dunievitz, who had been a medical officer at DeWitt State Hospital in Auburn in the early 1960s. When Ms Anderson flew out to California, she discovered the family had more than 120 pictures in good condition, stored in boxes in a garage. These were the artist's last works, created between 1960 and 1963, the year he died.
A. ¾îÈÖ
spit ħ. animate »ý±â¸ç ÁÖ´Ù, »ý¸íÀ» ÁÖ´Ù. psychiatric Á¤½Åº´ÇÐÀÇ, Á¤½Åº´Ä¡·áÀÇ.
institution ±â°ü, ÇÐȸ, °ø°ø´Üü. psychiatric institution Á¤½Å¿ä¾ç¼Ò. polish ±¤ÅÃÁ¦.
saliva ħ. illustration ߺûþ(»ðÈ). glue Á¢Âø½ÃŰ´Ù. paste Ç®, ¹Ð°¡·ç ¹ÝÁ×.
mash °¥¾Æ À¸±ú´Ù, ÁþÀ̱â´Ù. oddball ±«Â¥.
Richard Dadd [(1817-1886) ¿µ±¹ÀÇ È°¡. Á¤½Åº´À¸·Î °íÅë ´çÇÔ].
mount ¿Ã·Á³õ´Ù, ÁغñÇÏ´Ù, °ø¿¬ÇÏ´Ù.
retrospective üÞÍÓîÜ(ȸ°íÀû)ÀÎ, üÞÍÓî÷ãÆüå(ȸ°íÀü½Ãȸ). curator °üÀå, °ü¸®ÀÚ.
publicise ¹ßÇ¥ÇÏ´Ù. undocumented Á¤½Ä ¼·ù¸¦ °®ÃßÁö ¾ÊÀº, îðËà(Àü°Å)°¡ ¾ø´Â.
state hospital ñ¶Ø¡Ü»êÂ(ÁÖ¸³º´¿ø). lead (¹®Á¦ÇذáÀÇ) ´Ü¼, ½Ç¸¶¸®. store ÀúÀåÇÏ´Ù. garage ÀÚµ¿Â÷ Â÷°í.
52-2-237
Thanks to that earlier show, Ramirez's work has enjoyed a complete reappraisal. Far from being a kooky outsider who merely exorcised images from his subconscious, he is now understood as an artist inspired by the imagery of his hard life. His hundreds of drawings and collages vibrate with a rare intensity of hypnotic lines and warmly muted colours. Subjects and symbols are constantly reiterated in his distinctive, obsessive style. 'There is something remarkable going on here,' says Nancy Druckman, head of Sotheby's American folk art department.
Now a new show at the American Folk Art Museum features 25 previously unseen pictures from the Dunievitz collection. A cartoonish man on a horse gazes at the viewer, melancholic, vulnerable and isolated on a stagea train rounds a bend of reverberating curves and enters a mysteriously dark tunnelarches are arranged in a portentous grida Madonna looms tall, beatific and symmetrical, like a chess queen. Seen together, they evoke a narrative of lonesome migration and nostalgia for what was left behind.
Born in 1895 in Jalisco, Mexico, Ramirez travelled to California in the 1920s in search of work to support his family. With no formal education, he busied himself as a sharecropper and day-labourer, working on railways and in mines until the Depression hit. In 1931 he was arrested, haggard, confused and unable to communicate in English. He was diagnosed with catatonic schizophrenia and spent the next 32 years in mental asylums. It was during this period, particularly the 15 later years he spent at DeWitt, that he created hundreds of drawings and collages. It was his life's work. He hardly spoke to anyone.
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thanks to ...¶§¹®¿¡. reappraisal ÀçÆò°¡. kooky ±«Â¥ÀÇ, ¹ÌÄ£.
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subconscious ÀáÀçÀǽÄÀÇ. inspire °í¹«ÇÏ´Ù, °Ý·ÁÇÏ´Ù, ¿µ°¨À» ÁÖ´Ù. collage ÄݶóÁî.
vibrate Áøµ¿ÇÏ´Ù. intensity °·ÄÇÔ. hypnotic ÃÖ¸é¼úÀÇ, ÃÖ¸é»óÅÂÀÇ.
muted ¼Ò¸®¸¦ Á×ÀÎ, Ùíåë(¹«¾ð)ÀÇ. subject ÁÖÁ¦. reiterate ¹Ýº¹ÇÏ´Ù.
distinctive µ¶Æ¯ÇÑ. obsessive °¹Ú°ü³äÀÇ. remarkable µÎµå·¯Áø, ÁÖ¸ñ ÇÒ¸¸ÇÑ.
feature Ưº° Àü½ÃÇÏ´Ù, ... À» Ưº°Àαâ°Å¸®·Î ÇÏ´Ù, ƯÁ¾À¸·Î ÇÏ´Ù.
collection ¼öÁýǰ, ¼ÒÀåǰ. cartoonish ¸¸ÈÀÇ. viewer (¹Ì¼úÀÛǰÀ») º¸´Â »ç¶÷.
melancholic ¿ì¿ïÇÑ. vulnerable ÀúÇ×·ÂÀÌ ¾ø´Â, »óó¹Þ±â ½¬¿î. round µ¹´Ù, ÀÏÁÖÇÏ´Ù.
bend ±æÀÇ ¸ðÅüÀÌ, ±¼°î. reverbrate ÏÝï¹(±¼Àý)ÇÏ´Ù, ¿ï·Á ÆÛÁö´Ù.
mysterious ½Åºñ·Î¿î, ¸ðÈ£ÇÑ, ÜôʦÞÖì¡(ºÒ°¡»çÀÇ)ÇÑ. arrange ¹è¿ÇÏ´Ù.
portentous ºÒ±æÇÑ, ýÕð¼(ÈäÁ¶)ÀÇ. grid ¼èâ»ì. loom Èñ¹ÌÇÏ°Ô ³ªÅ¸³ª´Ù.
beatific Çູ¿¡ ³ÑÄ£, ò¸ÜØ(Áöº¹)À» °¡Á®¿À´Â. symmetrical ´ëĪÀûÀÎ.
evoke ü°ÑÃ(ȯ±â)ÇÏ´Ù. narrative À̾߱â. lonesome ¿Ü·Î¿î, ¾µ¾µÇÑ.
migration ì¹ñ¬(ÀÌÁÖ).
sharecropper (³ë¿¹ÆóÁö ÈÄ ¹Ì±¹ ³²ºÎ¿¡ »ý±ä) ÚªÒ¡ á³íÂìÑ(¹°³³ ¼ÒÀÛÀÎ).
Depression 1930³â´ëÀÇ °æÁ¦´ë°øÈ². haggard ÃÊÃéÇÑ. diagnose Áø´ÜÇÏ´Ù.
catatonic (Á¤½Åº´ÀÇ) ±äÀåÀÇ. schizophrenia Á¤½ÅºÐ¿Áõ. mental asylum Á¤½Åº´¿ø.
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