阿爾巴諾湖風景Lake Albano_1869_喬治·英尼斯油畫作品欣賞。
阿爾巴諾湖是英尼斯職業(yè)生涯中期工作的一個很好的例子。從這里可以一覽羅馬南部12英里(約合48公里)處的一個湖泊，風景以一群穿著時尚服裝和鄉(xiāng)村農家服飾的人物為特色，背景是一段羅馬高架渠、一座城堡、一棵高大的石松和一排柏樹。奇怪的是，阿爾巴諾湖的創(chuàng)作時間是1869年，也就是英尼斯回到意大利為美國市場繪制意大利風景的前一年，所以這幅畫可能是根據Inness在意大利逗留期間的記憶創(chuàng)作的。盡管如此，阿爾巴諾湖還是以其真實性和魅力引起了共鳴。
意大利的鄉(xiāng)村對印度人有特殊的吸引力。比起荒野，他更喜歡他后來所說的“文明景觀”，作為一個年輕的藝術家，他畫的風景畫反映了古典傳統(tǒng)。隨著他的風格的成熟，緊湊的繪畫和理想化的場景讓位給更廣泛的處理和更大的氛圍感，光，和表達性質的自然。
由于阿爾巴諾湖給人的感覺是生動的、第一手的觀察資料，因此它與因內斯19世紀70年代的意大利繪畫比與他早期的美國繪畫更接近。他的一些最大膽的色彩效果和繪畫作品可以在他的意大利風景畫中找到。阿爾巴諾湖還與后來的畫作共享了一個光滑、拋光的表面，通過發(fā)光的玻璃實現，以及一些如畫的元素和實驗性的圖像效果，例如構圖左側的開放空間。Inness在保留古典傳統(tǒng)的寧靜和深邃空間的同時，拋棄了他早期作品中使用的圍合框架裝置。雖然古典景觀通常會包含一些人物，但Inness在這里將這個公式進行了擴展，將人物分組擴大到一個從事各種活動的當代人物的大集合。
Lake Albano is a fine example of Inness's work at mid-career. A sweeping view of a lake 12 miles south of Rome, the landscape features groups of figures in fashionable clothing and rustic peasant costumes and shows in the background a section of Roman aqueduct, a castle, a tall stone pine, and a stand of cypress trees. Curiously, Lake Albano is dated 1869, the year before Inness returned to Italy to paint Italian views for an American market, so it may have been composed from the artist's stored memories of his Italian sojourns. Nevertheless, Lake Albano resonates with authenticity and charm.
The Italian countryside held a special attraction for Inness. Preferring what he later called "civilized landscape" to the wilderness, as a young artist he painted landscapes reflecting the classical tradition. As his style matured, tight drawing and idealized scenes gave way to broader handling and a greater sense of atmosphere, light, and the expressive qualities of nature.
Because of its feeling of vivid, first-hand observation, Lake Albano relates more closely to Inness's Italian paintings of the 1870's than to his earlier American scenes. Some of his most daring color effects and pictorial compositions are found in his Italian landscapes. Lake Albano also shares with the later paintings a smooth, polished surface achieved through luminous glazes, as well as some picturesque elements and experimental pictorial effects, for example, the open spaces on the left side of the composition. While retaining the tranquility and deep space of the classical tradition, Inness abandoned the enclosing framing devices he used in his early works. Though classical landscapes usually included a few figures, Inness expanded this formula here, enlarging the figure grouping to a large gathering of contemporary figures engaged in a variety of activities.
