佛羅里達(dá)州塔蓬泉月光風(fēng)景Moonlight Tarpon Springs Florida_1892_喬治·英尼斯油畫作品欣賞。
英尼斯一生都是一個焦躁不安、習(xí)慣旅行的人，在他職業(yè)生涯的最后十年里，他多次前往美國南部的一些地方進(jìn)行繪畫旅行。從1887年到1894年，他定期在佛羅里達(dá)過冬，1894年他去世。英尼斯在這些旅行中畫了許多他后期最偉大的畫作，其中包括月光下的塔彭斯普林斯。他選擇的地點(diǎn)有些偏僻，也不太受歡迎。塔蓬斯普林斯是佛羅里達(dá)州海灣沿岸一個寂靜的小鎮(zhèn)，希臘海綿漁民曾大量涌入這里，但在佛羅里達(dá)度假的游客很少去那個海濱小鎮(zhèn)。他到塔蓬泉的旅行是英尼斯在遠(yuǎn)離城市壓力的鄉(xiāng)村過冬模式的一部分，包括建立一個相對固定的家庭和工作室。
在月光下，在塔蓬泉和一些相關(guān)的畫作中，英尼斯避開了那些經(jīng)常去佛羅里達(dá)的藝術(shù)家們尋找的風(fēng)景——短吻鱷、棕櫚樹和繁茂的花朵。相反，他關(guān)注的是墨西哥灣北部海岸更微妙的風(fēng)味和氛圍，那里以高大的松樹、堤道和短而平坦的景色而聞名。月光下，塔彭泉回蕩著強(qiáng)烈的精神力量。在這幅畫中，月亮和遠(yuǎn)處篝火的輝光在一片漆黑的風(fēng)景中勾勒出了細(xì)節(jié)，鄧肯菲利普斯(鄧肯·菲利浦)詩意地形容這片風(fēng)景“就像我們南方芬芳的松樹林的溫暖而甜蜜的陰郁”。一個戴著白色頭巾的孤獨(dú)女人，既是構(gòu)圖的支柱，又是詩意的腔調(diào)，增強(qiáng)了夜晚的神秘和魔力。人物和大氣效果也讓人想起法國巴比松學(xué)派的作品，早期的影響英尼斯。正如菲利普斯觀察到的那樣, 英尼斯 被 他的鼓舞人心的靈感和主題" , 見機(jī) 行事在他晚年的作品中，在他晚年的旅行中，他通過對色彩、構(gòu)圖和繪畫的敏感處理，達(dá)到了對自然表達(dá)的新高度。
A restless, habitual traveler his entire life, Inness made many extended painting trips to locations in the southern United States in the last decade of his career. He wintered regularly in Florida from 1887 until 1894, the year of his death. Inness painted many of his greatest late paintings on these trips, among them Moonlight, Tarpon Springs. The locations he chose were somewhat off the beaten path and not popular vacation spots. Tarpon Springs was a sleepy town on the Florida Gulf Coast that had experienced an influx of Greek sponge fishermen, but few of the tourists who vacationed in Florida visited that small coastal town. His trips to Tarpon Springs were part of Inness's pattern of wintering in rural locations away from the stress of the city and involved setting up a relatively permanent household and studio.
In Moonlight, Tarpon Springs and a number of related paintings, Inness avoided the sights most frequently sought out by artists visiting Florida-alligators, palm trees, and lush flowers. Instead, he focused on the subtler flavor and atmosphere of the northern Gulf Coast, which is known for its tall pine trees, causeways, and short, flat vistas. Moonlight, Tarpon Springs reverberates with spiritual intensity. In the painting, the moon and glow of a distant bonfire pick out details in an otherwise dark and shadowy landscape that Duncan Phillips poetically described as having "the warm sweet gloom of our fragrant pine groves of the south." A lone woman in a white kerchief, who serves as both a compositional anchor and poetic accent, enhances the mystery and magic of the night. The figure and atmospheric effects are also reminiscent of the work of the French Barbizon School, an early influence for Inness. As Phillips observed, Inness was "inspired by [his] themes
