埃特爾塔風(fēng)景Etretat_1875_喬治·英尼斯油畫作品欣賞。
前景是一片郁郁蔥蔥的綠色牧場，兩個(gè)人沿著小路走著。兩邊都是牛羊，有的坐著，有的吃草。遠(yuǎn)處是沿著海岸陡峭的懸崖，下面是波濤洶涌的大海，小船星羅棋布。在頭頂上可以看到烏云。
最終，因尼斯的藝術(shù)證明了伊曼紐爾·斯韋登堡神學(xué)的影響。對內(nèi)在特別感興趣的是這樣一種觀念，即自然界中的每件事物在某種意義上都與某種精神上的事物有對應(yīng)關(guān)系，因此從上帝那里得到了“流入”，以便繼續(xù)存在。
對英尼斯思想的另一個(gè)影響是威廉·詹姆斯，他也是瑞典波吉亞主義的追隨者。特別是，英尼斯的靈感來自于詹姆斯的“意識流”思想，以及他關(guān)于神秘體驗(yàn)如何塑造一個(gè)人對自然的看法的思想。
1885年，特別是在他生命的最后十年，英尼斯在新澤西州的蒙特克萊爾定居下來后，這一神秘的部分通過對形狀的更抽象處理、軟化的邊緣和飽和的顏色（1886年10月，一個(gè)深邃而戲劇性的天地并置（初秋，蒙特克萊爾，1888年）在他的藝術(shù)中表現(xiàn)出來，強(qiáng)調(diào)在親密的風(fēng)景中（1891年森林中的日落），對繪畫的處理越來越私人化、自然化，而且經(jīng)常是暴力的。前景是一片郁郁蔥蔥的綠色牧場，兩個(gè)人沿著一條小路行走。兩邊都是牛羊，有的坐著，有的吃草。遠(yuǎn)處是沿著海岸陡峭的懸崖，下面是波濤洶涌的大海，小船星羅棋布。在頭頂上可以看到烏云。
1885年，特別是在他生命的最后十年，英尼斯在新澤西州的蒙特克萊爾定居下來后，這一神秘的部分通過對形狀的更抽象處理、軟化的邊緣和飽和的顏色（1886年10月，一個(gè)深邃而戲劇性的天地并置（初秋，蒙特克萊爾，1888年）在他的藝術(shù)中表現(xiàn)出來，強(qiáng)調(diào)在親密的風(fēng)景中（1891年森林中的日落），對繪畫的處理越來越私人化、自然化，而且經(jīng)常是暴力的。
In the foreground there is a lush green pasture with two figures walking along a path. On either side of them are cows and sheep, some seated and some grazing. In the distance there are the steep cliffs along the coast, with a rough sea below dotted with boats. Dark storm clouds are visible overhead.
Eventually Inness' art evidenced the influence of the theology of Emanuel Swedenborg. Of particular interest to Inness was the notion that everything in nature had a in a sense a correspondence relationship with something spiritual and so received an "influx" from God in order to continually exist.
Another influence upon Inness' thinking was William James, also an adherent to Swedenborgianism. In particular, Inness was inspired by James' idea of consciousness as a "stream of thought", as well as his ideas concerning how mystical experience shapes one's perspective toward nature.
After Inness settled in Montclair, New Jersey in 1885, and particularly in the last decade of his life, this mystical component manifested in his art through a more abstracted handling of shapes, softened edges, and saturated color (October, 1886, a profound and dramatic juxtaposition of sky and earth (Early Autumn, Montclair, 1888), an emphasis on the intimate landscape view (Sunset in the Woods, 1891), and an increasingly personal, spontaneous, and often violent handling of paint.In the foreground there is a lush green pasture with two figures walking along a path. On either side of them are cows and sheep, some seated and some grazing. In the distance there are the steep cliffs along the coast, with a rough sea below dotted with boats. Dark storm clouds are visible overhead.
After Inness settled in Montclair, New Jersey in 1885, and particularly in the last decade of his life, this mystical component manifested in his art through a more abstracted handling of shapes, softened edges, and saturated color (October, 1886, a profound and dramatic juxtaposition of sky and earth (Early Autumn, Montclair, 1888), an emphasis on the intimate landscape view (Sunset in the Woods, 1891), and an increasingly personal, spontaneous, and often violent handling of paint.
