{"id":"bay-area-figurative","no":696,"name":"Bay Area Figurative Movement","ja":"ベイエリア・フィギュラティヴ","era":"1950s–1960s","family":"具象絵画","kind":"スタイル","essence":"抽象表現主義の大きな筆触と厚い色面を捨てずに、人物、室内、街、風景へ戻したサンフランシスコ湾岸の絵画。形は読めるが輪郭は揺れ、人物と背景が同じ絵具の圧力で組み立てられる。","cues":["大きく平たい筆触で組み立てる人物","輪郭が背景の色面へ溶ける","鮮やかな補色と厚い不透明絵具","日常の室内、海辺、都市を簡略化する"],"intents":["親密","高揚","遊び"],"pair":["abstract-expressionism","neo-expressionism"],"study":["David Park and the return to the figure","Richard Diebenkorn and Berkeley paintings","Elmer Bischoff, Joan Brown and Bay Area light"],"works":["人物を写真的に固定せず、姿勢と色面から存在感を出したいとき","具象と抽象のどちらにも振り切らず、場所の光を厚い筆触へ残すとき"],"recipe":{"type":"小さなサンセリフを色面の端へ置き、人物の輪郭を文字で補強しない。","layout":"人物を大きく切り取り、背景と同じ幅の筆触で胴体、床、壁を連続させる。","material":"彩度の高い不透明色を幅広の筆で重ね、下層色と塗り残しを輪郭に使う。"},"avoid":"人物を置いた抽象画なら何でも該当するわけではない。湾岸の作家群と、抽象から具象へ戻る歴史的な転換を示す。","colors":["#D67755","#3D6E78","#D2B85D"],"motif":"portrait","collection":"Dictionary expansion 40","addedAt":"2026-08-23","source":{"title":"SFMOMA — Bay Area Figurative Art","url":"https://www.sfmoma.org/park-curatorial-introduction/"},"reference":{"status":"verified","pageUrl":"https://www.sfmoma.org/park-curatorial-introduction/","credit":"SFMOMA — Bay Area Figurative Art"},"en":{"essence":"Bay Area painting that returned to figures, rooms, cities, and landscapes without abandoning Abstract Expressionism's broad marks and thick color fields; figure and ground carry the same painterly pressure.","cues":["Figures built from broad flat strokes","Contours dissolving into surrounding color","Opaque complementary color","Everyday interiors, beaches, and streets simplified into large forms"],"works":["Giving a figure presence through posture and color rather than photographic description","Keeping a work between figuration and abstraction while preserving the light of a place"],"recipe":{"type":"Place small sans-serif labels at the edge of a color field without reinforcing the contour.","layout":"Crop the figure large and continue the same width of mark through body, floor, and wall.","material":"Layer saturated opaque paint with a broad brush, allowing undercolor and unpainted gaps to form the contour."},"avoid":"A figure inside an abstract painting is not enough. Preserve the Bay Area lineage and the historical return from abstraction to figuration.","study":["David Park and the return to the figure","Richard Diebenkorn and Berkeley paintings","Elmer Bischoff, Joan Brown and Bay Area light"]},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}