美术馆工作的人有句行话:作品复制不得。正如画家的妻子夏娃·法桑内拉所说:“物以稀为贵。” 然而美国画家拉尔夫·法桑内拉并非是成批作品的制作者。他曾在一家服装厂工作。在过去的40年里,他勤奋创作,竭力表现城市街景、工厂以及美国的社会生活,揭示了为慷慨和友善之情所掩盖的美国人的贪婪欲望。 那么,是否作品越少,其价值就越高呢? 毫无疑问。画家是要卖画的。就私人收藏大量作品这一事实来说,在颇具新潮的苏荷地区的美术馆出售作品或许行得通。《纽约时报》最近的一则艺术评论形象地称其为“两个十字交叉的排球网和一个能发出怪声的大白球构成的地方”。 People who work in art galleries have the following words: works can not be copied. As the painter’s wife, Eve Fassanella, puts it: “Things are sparse.” However, American painter Ralph Fasanella is not the creator of the batch. He worked in a garment factory. Over the past 40 years, he has worked diligently to exert his efforts in urban street scenes, factories and social life in the United States, revealing the greedy desire of Americans who have been concealed for their generosity and friendliness. So, the less work, the higher its value? No doubt. The painter is going to sell paintings. For the fact that a large number of private collections of works, the sale of works in art galleries in the trendy SoHo may be feasible. A recent art review in The New York Times vividly called it “a place where two crossed-square volleyball networks and a whizzy big white ball make up.”