top of page
⾺爾科姆‧⾥普吉 Malcolm Liepke  美國  b.1953

成長於明尼亞波利斯(美國明尼蘇達州最大城市,又稱湖泊之城)Malcolm Liepke是一位以畫女性肖像畫為主的畫家,特別像是那種會出現在艷麗的舞台、電影、或是時尚圈的女性。這些女性諳練於表演藝術或是自我投射,習慣被注視與回顧觀者的視線,有時甚至會投以傲慢或是無辜挑逗式的目光。






他能流暢並熟練地掌握他所選擇的媒介,則是他長時間精於研究的結果。在他的作品中,構圖、光線、模特兒的姿勢,有些是參考或是回應,如約翰·辛格·薩金特(Sargent)、詹姆斯·惠斯勒(Whistler)、竇加(Degas)、亨利·德·土魯斯-羅特列克(Henri de Toulouse-Lautrec)的作品,都是在他有條不紊的掌控之中。



其作品被布魯克林博物館、美國國家設計學院、史密森尼美國藝術博物館、時代週刊、新聞雜誌、富比士雜誌、財富雜誌、AT&T、哥倫比亞廣播公司、ABC電視台、大西洋唱片、DKNY、Ralph Lauren、美孚石油等多家博物館與企業收藏。

Malcolm Liepke was born in 1953 and raised in Minneapolis. ML is a painter primarily of women, especially of a certain kind, who appear to be glamorous inhabitants of the film, stage and fashion world. Versed in the art of performance and self-projection, they are used to being looked at and return the viewers’ gaze sometimes provocatively, with insolence or innocently. We see them artfully posed, complicit in their arrangement, acting out a role. ML demonstrates a bravura handling of oil paint, its rich consistency describing creamy tones of pink and pale skin. The expressive looseness of the handling articulates the flesh and demands our attention. Wilder, spikier handling describes the texture of hair and fur. This contrast between surfaces highlights the tactile excitement and variety of the subject. 


He uses colour skilfully, with a palette reminiscent of’ fin-de-siècle’ French painting, strategically deploying electric hues of orange, blue, lilac and pink against the delicate skin tones of the models. This adds another level of sensory excitement. ML’s fluent and accomplished mastery of his chosen medium is the product of long and well informed study. There are references to, and echoes of, Sargent, Whistler, Degas, and Lautrec in his compositions, lighting, the models’ poses and, particularly, in the swagger and pace of his handling.


These historical allusions suggest some correspondence between their subjects and his, and that these characters inhabit something of a contemporary ‘demi-monde’, some modern-day version of the ‘Moulin Rouge’ or the ‘Bar at the Folies-Bergères’. His choice of subject and the painterly treatment he applies to it combine to hint at a possible erotic drama. It is a study of a particular mode of feminine attraction and a frank appreciation of it.

bottom of page