白日雞和維吉尼亞風(fēng)景Gray Day Goochland Virgnia_1884_喬治·英尼斯油畫作品欣賞。
這項(xiàng)工作的吸引人之處，不僅在于他的健康，也在于他的自然風(fēng)光。在這些旅行中，他創(chuàng)作了一些晚期最好的畫作，其中包括《灰色的日子，古克蘭》。他選擇的地點(diǎn)有些偏僻，也不太受歡迎。古奇蘭位于里士滿以西，距離詹姆斯河大約一英里，不過是一個(gè)村莊，主要吸引人的地方是縣法院和監(jiān)獄。因尼斯只去了古奇蘭一次，在那里呆了三個(gè)月。他為什么選擇這個(gè)偏僻的地方仍然是個(gè)謎。然而，這次參觀的時(shí)間是1884年1月到3月中旬，這可能反映出英尼斯希望避免他的作品在紐約美國(guó)藝術(shù)畫廊(美國(guó)藝術(shù)畫廊)的大型回顧展開幕時(shí)的忙亂和緊張。
英尼斯在南方的逗留與他職業(yè)生涯的最后階段和他成熟風(fēng)格的成就是一致的。他的繪畫從19世紀(jì)80年代中期一直到他去世，其特點(diǎn)是通過廣泛的繪畫應(yīng)用和微妙的色彩和色調(diào)效果來表現(xiàn)自然，表現(xiàn)自然的松散。在灰蒙蒙的日子里，古奇蘭、珍珠般的灰色和熔融的粉色溫暖了原本會(huì)是寒冷冬天的景象:一個(gè)大人和一個(gè)小孩穿過田野，走向一處農(nóng)舍，農(nóng)舍坐落在一簇稀疏的光禿禿的樹木中。一方面，這幅畫完美地捕捉到了弗吉尼亞冬天涼爽、柔和的光線和潮濕但寒冷的氛圍。然而，與此同時(shí)，模糊的形式和深邃而矛盾的不確定的空間傳達(dá)了一種空靈的感覺。
This work was drawn as much by concern for his health as for the natural attractions, Inness traveled frequently to the south, visiting Virginia in 1884. He made some of his finest late paintings on these trips, among them Gray Day, Goochland. The locations he chose were somewhat off the beaten path and not popular vacation spots. Goochland, west of Richmond and about a mile from the James River, was no more than a village whose chief attractions were the county courthouse and jail. Inness made only one visit to Goochland and stayed for three months. Why he chose this out-of-the way place is still a mystery. The timing of the visit, however, from January into mid March 1884, may reflect Inness's desire to avoid the fuss and strain of the opening of a large retrospective exhibition of his work at the American Art Galleries in New York.
Inness's southern sojourns coincided with the last phase of his career and his achievement of a mature style. His paintings from the mid 1880's until his death are characterized by an expressive, loose transcription of nature through broad paint application and subtle color and tonal effects. In Gray Day, Goochland, pearly grays and molten pinks warm what would otherwise be a bleak winter scene of an adult and child walking across a field toward a farmhouse nestled in a thin cluster of barren trees. On the one hand, the painting perfectly captures the cool, muted light and the damp but nippy atmosphere of a Virginia winter. Yet, at the same time, the blurred forms and deep, yet paradoxically indefinite space convey a sense of the ethereal.
