Claude Raguet Hirst

  Claude Raguet Hirst(an haife shi Claudine,1855 – 1942)ɗan Amurka ne mai zane na har yanzu.Ita ce kaɗai macen zamaninta da ta sami yabo ta amfani da dabarar trompe-l'œil("wauta ido").

Rayuwar farko da ilimi

An haifi Claudine a Cincinnati,Ohio a watan Nuwamba 1855,ita ce babbar 'ya'ya mata biyu Juliet da Percy Hirst.Ta ƙidaya dan majalisar Pennsylvania Henry Wynkoop a cikin kakaninta. Lokacin da ta kai shekara bakwai,dangin sun ƙaura zuwa Clifton,yanki mai wadata tare da al'ummar fasaha masu tasowa.A cikin hirar 1940 da ɗan ƙauyen,Hirst ya tuna fara darussan zane yana ɗan shekara goma da halartar makarantar rawa tare da wani matashi William Howard Taft. Lokacin da ta kai shekaru 14,an shigar da ita a Cibiyar Matasa Matasa ta Mount Auburn.Nunin Masana'antu na Cincinnati na 1872 ya haɗa da uku daga cikin ayyukanta na farko.

A cikin 1874,Hirst ta yi rajista a Makarantar Zana da Zane ta McMicken inda ta ɗauki azuzuwan zane mai girma uku da sassaƙa itace.An nuna ayyukanta a cikin Pavilion na Mata na 1876 Centennial Exposition a Philadelphia.Ta bar Makarantar Zane a 1878 kuma ta koyar da sassaƙan itace.Ta kasance ɗaya daga cikin masu zane-zane waɗanda suka sassaƙa dalla-dalla na Cincinnati Organ Screen don ƙungiyar Kiɗa.Da farko a cikin 1870s,ta yanke sunanta zuwa "Claude",mai yiwuwa don guje wa jima'i wanda ya sa yawancin mata masu fasaha na zamanin.

Matsa zuwa New York

Hirst moved to New York City by 1880,where the promise of training,employment,and fame lured many of her contemporaries.Her mother and sister followed her there shortly after,leaving the alcoholic Percy Hirst in Ohio,where he soon died.Hirst rented a studio in Greenwich Village where she befriended landscape painter William Crothers Fitler.The pair married in 1901.

Yayin da yake a New York,Hirst ya koyar da fasaha kuma ya ɗauki darussa masu zaman kansu daga Agnes Dean Abbatt,Charles Courtney Curran,da George Henry Smillie.Ta shiga duka Ƙungiyar Ƙwararrun Mata ta New York da Ƙungiyar Ruwa ta Amirka.Ta nuna har yanzu rayuwa da zane-zanen ruwa a New York da sauran garuruwa.An baje kolin ayyukanta akai-akai tare da na malamanta a wurare irin su Ƙungiyar Mata masu zane-zane da masu zane-zane na kasa,Cibiyar Nazarin Kasuwanci ta Kasa, Ƙungiyar Ƙwallon Ƙwance na Philadelphia,da Cibiyar Fasaha ta Chicago.Abubuwan da ta kasance a farkon rayuwarta a New York sun haɗa da 'ya'yan itace da furanni,galibi pansies da wardi, kuma takan gano nau'ikan fure a cikin takenta.A cikin shekarun 1880s,aikin goga na Hirst ya tsananta,kuma a ƙarshe zai zama kusan ba za a iya gane shi ba.

Hirst ya fara amfani da dabarar trompe-l'œil mai saurin gaske da kuma hoton namiji.Ɗaliban karatunta har yanzu sun haɗa abubuwa kamar littattafai,kyandir,jaridu,da bututun meerschaum da aka shirya akan teburin katako.Ta ƙirƙiri adadin bututu da taba har yanzu rayuwa,ɗayan wanda sukari baron HO Havemeyer ya saya.

Zanen Hirst, Tebur A Gentleman ( c. 1897–1902)

Hirst ta kasance ɗaya daga cikin ƴan matan da suka yi amfani da trompe-l'œil a lokacin zamanin Victorian.An bayyana ta a matsayin"mace Harnett"dangane da zamaninta,William Harnett. Ta watsar da furanni a matsayin batun bayan 1890 kuma ta shafe sauran ayyukanta tana mai da hankali kan abubuwan teburin ɗakin karatu. Yayin da aka danganta canjin jigo ga Harnett, Hirst da kanta ta ba da labarin cewa"[Fitler]ba shi da tsari sosai.Abubuwan taba nasa koyaushe suna kusa kuma wata rana na lura da abin da suke yi na ban sha'awa.Yana da bututu mai launi mai daraja.Kamar tsohon hauren giwa ne.A koyaushe ina son tsofaffin littattafai da tsofaffin zane-zane,don haka na sanya bututu tare da wasu tsofaffin littattafai na na yi musu fenti.”

According to Christine Crafts Neal,Hirst's 1890s work,A Gentleman's Table"recalls the 17th-century Dutch tradition of the moralizing(vanitas)still-life composition."The piece has the features of a typical bachelor still life,with pipes,bottles, glasses and cards arranged on a table.According to art historian Martha Evans,works in the oeuvre of contemporaries Peto and Harnett typically condoned the male culture that was represented and rarely offered depictions of alcohol.Evans relates that while Hirst's work was commissioned by a men's club in Chicago,she offers a subtle criticism of the male pursuits of gambling and drinking.Most of the bottles are empty, implying that heavy drinking has taken place.The sugar cubes and sliced lemon suggest that one of the liquors is absinthe,"considered the'cocaine' of the nineteenth century."The overturned bottles, the cards strewn about the table and the abandonment of a pyramidal composition create a sense of disarray in the work.

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