莫內_日本橋
Claude
Monet (1840-1926)
Le bassin aux nymphéas
signed and
dated 'Claude Monet 1919' (lower right)
oil on canvas
39½
x 79 1/8 in. (100.4 x 201 cm.)
Painted in 1919
More
than any other artist in the Impressionist circle, Claude Monet never
tired of exploring the movement down to its most basic elements. He'd
methodically - albeit rapidly - paint the exact same scene over and
over, the only variables being the angles of light, time of day and
weather conditions. It is a testament to his patience and artistic
mastery that these same scenes all came out distinctly different from
one another.
Here we see one of the numerous, large
"waterlilies" for which Monet is so well-known today. He'd
enlarged his pond in the gardens at Giverny for the final time in
1910, but was plagued afterward with depression over the death of his
beloved wife, Alice (in 1914), increasingly problematic cataracts and
the considerable distractions of WWI. By the time 1919 rolled around,
he was bravely attempting to soldier on in an expanded studio, the
walls of which were covered for 360-degrees with massive canvases
meant for pictures of his pond. Le Bassin au Nympheas is one
result of his determination to continue painting - regardless - until
he drew his last breath. We are so fortunate that he made the effort.
從19世紀後半，以法國為中心而風行到全歐的「日本趣味」流行，莫內也是沾染最深的一個。他本人收藏了不少日本浮世繪，就連畫作在構圖上都深受影響。其對日本文化和藝術的強烈與趣，在完成於1899至1900年間的「日本橋」系列作品中，完全顯露無遺。
莫內家的睡蓮池旁畔，有兩棵大的垂柳。其中一棵正好長在日本橋旁。當莫內從正前方畫這座橋時，這棵垂柳好像是一道瀑布，對著半圓形的拱橋沖瀉著黃綠色
的鮮明光流，讓這寧靜的風景，帶來潤澤的動勢。然而，柳樹並不單是被當作反射光的主題而已；有時莫內會繞到這顆樹的背後，去看從無數混迷的樹葉透過來的
光，他說：「我正力求現象的極限」。那個神祕的境界，到底是在那裏？本來色彩是表現光的手段，但是，卻到達另一種境界
－ 表現色彩本身所具有的「力量」來了。
推薦原因:日本橋在光影技巧表現相當活潑動人,彷彿這幅景象就在眼前,荷花、橋水中倒影,陽光由畫布左後方照射出溫煦光芒。
Le Bassin aux nympheas lighting techniques is quite lively and moving. As if the lotus, bridge in the water reflectionthis just in front of you. the sun releases very inviting light,making us feel comfortable.
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