和尚 僧侶情景The Monk_1873_喬治·英尼斯油畫作品欣賞。 僧侶是他最令人難忘的作品之一，也是十九世紀(jì)最優(yōu)秀的繪畫作品之一。巴貝里尼別墅位于羅馬南部約15英里處，靠近甘多夫城堡，這里的環(huán)境被認為是一個特別隱蔽的角落。在尼米湖上，英尼斯描繪了一個孤獨的、帶著頭巾的和尚，手里拿著一根手杖，在一個封閉的花園里漫步。他個子矮小，首先是靠著一堵高高的石墻，在他身后，然后又是靠著一排非常高、纖細的意大利松樹在中間。盡管意大利松樹是羅馬和游行隊伍周圍的常見特征，盡管因尼斯曾多次為巴貝里尼別墅作畫，但只有在僧侶身上，他才能將松樹的深色形狀有效地襯托在泛黃的赭石色天空上。通過使用統(tǒng)一的刷痕來減少幾乎消除這些喬木內(nèi)部的細節(jié)，英尼斯設(shè)計了這些自然形式作為相互連接的青貯形狀的抽象圖案。他一定特別高興他們在上邊創(chuàng)造出了一條清晰的、蜿蜒的、生動的美麗線條。
The Monk is one of his most haunting works and among the finest paintings of the nineteenth century. The setting for this extraordinary landscape is thought to be a particularly secluded corner of the grounds of the Villa Barberini, near Castel Gandolfo, a summer residence of the pope located some fifteen miles south of Rome. As in Lake Nemi, Inness pictures a solitary, cowled monk, a staff in his hand, strolling the grounds of an enclosed garden. He is dwarfed, first, by a tall stone wall, behind him and again by a bank of extremely tall, slender Italian pines in the middle distance. Although Italian pines are common features around Rome and the Marches, and although Inness had painted the Villa Barberini on many occasions, only in The Monk does he set the dark shapes of the pine arbors so effectively against a glowing yellow-ocher sky. By using unified brush marks to diminish nearly to eliminate details within these arbors, Inness devised these natural forms as abstract patterns of interconnected ensiform shapes. He must have been particularly delighted by the way in which they create, at their upper edge, a lissome, serpentine line of vivid beauty.
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