從蒂沃利看 羅馬景色View of Rome from Tivoli_1872__喬治·英尼斯油畫作品欣賞
許多十九世紀(jì)的美國(guó)藝術(shù)家的主要抱負(fù)是到意大利朝圣，吸收古典和文藝復(fù)興時(shí)期的藝術(shù)傳統(tǒng)。對(duì)于風(fēng)景畫家來說，這次逗留也為他們描繪意大利鄉(xiāng)村的氣氛和季節(jié)提供了機(jī)會(huì)。英尼斯于1870年第二次到意大利旅行，這次旅行將持續(xù)四年。他以羅馬為基地，周游周邊地區(qū)，參觀湖泊和山鎮(zhèn)。這次旅行記錄在案的近兩百幅油畫充分證明了它對(duì)他的生活產(chǎn)生了巨大的影響。盡管有其描述性，標(biāo)題“從Tivoli看羅馬”是一個(gè)誤稱；事實(shí)上，山上的城市比羅馬更像Tivoli。Inness的風(fēng)景是精心設(shè)計(jì)的，引導(dǎo)觀眾的視線從前景中的修道院塔樓入口沿著低矮的石墻向下進(jìn)入繪畫的左角。Inness巧妙地捕捉到了大氣中的薄霧，在柔和的粉紅和藍(lán)灰色天空下，這種薄霧會(huì)使深背景閃爍。這位藝術(shù)家更關(guān)心的是位置感，而不是可辨認(rèn)的位置。當(dāng)被問到他作品中描繪的地點(diǎn)時(shí)，Inness曾經(jīng)回答說，這些地點(diǎn)代表著“沒有特別的地方；你認(rèn)為我畫了旅游指南嗎？”他急躁的反應(yīng)引起了對(duì)景觀藝術(shù)家所面臨的兩難處境的關(guān)注——是滿足顧客參觀或想象的地方對(duì)紀(jì)念品的需求，還是服務(wù)于藝術(shù)家對(duì)一個(gè)地方的廣義繪畫的目的。在“Tivoli對(duì)羅馬的看法”中，Inness對(duì)日常生活的永恒品質(zhì)的關(guān)注取代了對(duì)風(fēng)景更具體的解讀。
A prime ambition of many American artists of the nineteenth century was to make a pilgrimage to Italy to absorb the artistic traditions of the classical and Renaissance past. For landscape painters, this sojourn also offered the opportunity to paint the moods and seasons of the Italian countryside. Inness arrived in Italy in 1870 on his second trip, which would last four years. Based in Rome, he traveled extensively throughout the surrounding region, visiting lakes and hill towns. The nearly two hundred recorded paintings from this trip are ample evidence of its powerful effect on his life. Despite its descriptiveness, the title "View of Rome from Tivoli" is something of a misnomer; in fact, the city on the hill resembles Tivoli more than it does Rome. Inness's landscape is carefully composed to lead the viewer's eye from the portal of the monastery tower in the foreground down along the low stone fence descending into the left corner of the painting. Inness has masterfully captured the atmospheric haze that causes the deep background to shimmer under soft pink and blue-gray sky. The artist was more concerned with a sense of place than with identifiable locations. When asked about the sites depicted in his work, Inness once replied that they represented "nowhere in particular; do you suppose I illustrated guidebooks?" His testy response calls attention to the dilemma facing landscape artists - whether to satisfy the demand for souvenirs of places visited or imagined by patrons or to serve the artist's purpose of painting a generalized aspect of a place. In "View of Rome from Tivoli," Inness's focus on the timeless quality of daily life supplants the need for a more specific reading of the landscape."
