太陽(yáng)落在海面上景色Sunst Over The Sea_1887_喬治·英尼斯油畫(huà)作品欣賞。
喬治·因尼斯接受哈德遜河學(xué)派的現(xiàn)實(shí)主義訓(xùn)練，在內(nèi)戰(zhàn)后慢慢地發(fā)展出一種極具表現(xiàn)力和獨(dú)創(chuàng)性的方式，并轉(zhuǎn)向具有啟發(fā)性的非地形景觀。在《海上落日》等后期作品中，英尼斯實(shí)現(xiàn)了色彩與表現(xiàn)力的統(tǒng)一，與客觀現(xiàn)實(shí)相去甚遠(yuǎn)。這幅圖像被分為兩個(gè)部分：海洋和天空，在顏料的朦朧中呈現(xiàn)，模擬了自然界中空氣、水和光的變化狀態(tài)。海鳥(niǎo)乘著氣流在前景的波濤之上，沐浴在一種詭異的光中，無(wú)疑為這位藝術(shù)家?guī)?lái)了精神上的啟示，他是瑞典人信仰的狂熱追隨者。
Trained in the realistic conventions of the Hudson River school, George Inness slowly evolved a highly expressive and original manner after the Civil War and turned to suggestive, non topographical landscapes. In late works like Sunset over the Sea, Inness achieved a coloristic and expressive unity that stepped further away from objective reality. The image is divided into two registers, sea and sky, rendered in hazes of pigment that mimic the shifting state of air, water, and light in nature. Sea birds riding the currents of air above the waves in the foreground, which is bathed in an eerie light, undoubtedly bore a spiritual message for the artist, an ardent follower of the Swedenborgian faith.
