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追寻RONALD 极限片中 荷兰名胜古迹 与 艺术杰作 的足迹 (in the footsteps of .....)

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 楼主| 发表于 2020-2-19 00:45 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-22 00:47 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17 幅梵高自画像展于梵高博物馆。

這幅1886年 梵高的 《畫家的自画像》(荷蘭語:zelfportret als schilder, F181) 展于梵高博物馆。

Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.

This is one of the earliest self-portraits painted by Van Gogh – and the first in which he portrayed himself as an artist. He stands at his field easel, holding his palette. After more than five years of practice in the Netherlands and Antwerp (BE), he was eager to make his name as a painter in Paris.  The rectangular palette is covered with splotches of paint; each one is a pure, unmixed colour. At the top is a small jar of turpentine for thinning the paint. There are two holes in the palette: in one we see Van Gogh's thumb and in the other two brushes. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-21 06:09 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-24 02:44 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17幅梵高自画像展于梵高博物馆。

這幅1887年 梵高的 《自画像》(荷蘭語:zelfportret, F356) 展于梵高博物馆。

Around the world, people recognise this man with a red beard and an earnest look in his eyes. Vincent van Gogh painted about 35 self-portraits in total, most of them in Paris. For him, this was a way of practising portrait painting. His intention was not to portray himself as realistically as possible. He used the Neo-Impressionist style here, with short, rough brushstrokes. These alternate with longer strokes, such as the orange in his beard.  The background was originally purple (a mix of red and blue), but the red pigment has discoloured and has become almost completely transparent. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-22 00:42 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-22 00:47 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17幅梵高自画像展于梵高博物馆。

這幅1887年 梵高的 《自画像》(荷蘭語:zelfportret, F77v) 展于梵高博物馆。

During his time in Paris (1886-1888), Van Gogh painted more than 20 self-portraits. He probably had very little money for models. That led him to take himself as an object of study. Here he portrays himself as an artist in his blue smock-frock. This was what he wore when painting.  Van Gogh painted this on the back of a Study for ‘The Potato Eaters’, which he had made earlier in Nuenen (NL). By doing that, he avoided the costs not only of a model but also of expensive canvas. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-23 00:30 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-23 00:32 编辑

文森·威廉·梵高(荷兰语:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:Van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17 幅梵高自画像展于梵高博物馆。

這幅1887年 梵高的 《自画像》(荷蘭語:zelfportret, F296) 展于梵高博物馆。

Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.

'People say – and I'm quite willing to believe it – that it's difficult to know oneself – but it's not easy to paint oneself either,' Van Gogh once wrote to his brother Theo. He presents himself in this self-portrait as a respectable bourgeois, wearing an elegant suit and felt hat.  

The small painting is done in shades of pastel grey-blue. This was an unusual palette for Van Gogh, who even changed the colour of his eyes to match it. In reality they were green, yet they are shown in this painting as grey-blue. The bright red beard stands out strongly against all the grey tones. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-23 00:34 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-4-19 02:24 编辑

2015年荷兰邮政发行了60枚梵高邮票,其中有五枚自画像邮票。 最重要的是 《带草帽的自画像》,因为邮戳具有相同的图像。 因此,这一枚片票戳三图一致极限明信片赢得了2015年世界最佳极限片评选第一名。这一枚将永远纪念我们心爱的荷兰极限家。Lector, si monumentum requiris, circumspice.   
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 楼主| 发表于 2020-2-23 00:38 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-23 08:17 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有18 幅梵高自画像展于梵高博物馆。

這幅1887年 梵高的 《带草帽的自画像》(荷蘭語:zelfportret met Strohoed, F469) 展于梵高博物馆。

Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.

Wearing light summer clothes, the artist examines us with one blue and one green eye. For this self-portrait, Van Gogh used an inexpensive alternative to canvas: cardboard. He then applied a layer of priming with dashes of purple. But the pigment in that purple paint has largely faded over time. A few strokes of pink are still faintly visible in his shoulder. The original colours, carefully composed by Van Gogh, have therefore been lost. For instance, the purple background once contrasted with his yellow straw hat. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-24 00:24 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-24 00:25 编辑

文森·威廉·梵高(荷兰语:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:Van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17 幅梵高自画像展于梵高博物馆。

這幅1887年 梵高的 《叼烟斗带草帽自画像》(荷蘭語:zelfportret met pijp en strohoed, F524) 展于梵高博物馆。

Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.

This sketchy self-portrait is an example of the amazingly rapid progress Van Gogh made in Paris. The summery palette and loose brushwork betray the influence of the Impressionists. The smock, hat and background consist of large, outlined areas of colour. The face and beard are built up in more detail using different tones.  Van Gogh was practising painting portraits. Because models were expensive, he bought a good mirror and used himself as his subject. He later wrote to his brother Theo: 'because if I can manage to paint the coloration of my own head, which is not without presenting some difficulty, I'll surely be able to paint the heads of the other fellows and women as well.'. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-24 00:27 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-24 03:47 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17 幅梵高自画像展于梵高博物馆。

這幅1887年 梵高的 《带灰色毡帽的自画像》(荷蘭語:zelfportret met grijze vilthoed, F344) 通常展于梵高博物馆(外借德國博物館直到2月)。

Van Gogh painted this self-portrait in the winter of 1887–88, when he had been in Paris for almost two years. It is clear from the work that he had studied the technique of the Pointillists and applied it in his own, original way. He placed the short stripes of paint in different directions. Where they follow the outline of his head, they form a kind of halo.  

The painting is also one of Van Gogh’s boldest colour experiments in Paris. He placed complementary colours alongside one another using long brushstrokes: blue and orange in the background, and red and green in the beard and eyes. The colours intensify one another. The red pigment has faded, so the purple strokes are now blue, which means the contrast with the yellow is less powerful. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-24 00:28 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-25 00:43 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆,加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ,一共有17 幅梵高自画像展于梵高博物馆。

這幅1887~1888年 梵高的 《畫家的自画像》(荷蘭語:zelfportret als schilder, F522) 展于梵高博物馆。

Van Gogh presented himself in this self-portrait as a painter, holding a palette and paintbrushes behind his easel. He showed that he was a modern artist by using a new painting style, with bright, almost unblended colours. The palette contains the complementary colour pairs red/green, yellow/purple and blue/orange – precisely the colours Van Gogh used for this painting. He laid these pairs down side by side to intensify one another: the blue of his smock, for instance, and the orange-red of his beard.  

Self-Portrait as a Painter was the last work Van Gogh produced in Paris; the city had exhausted him both mentally and physically. He told his sister Wil how he had portrayed himself: ‘wrinkles in forehead and around the mouth, stiffly wooden, a very red beard, quite unkempt and sad’. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-25 00:50 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-25 00:54 编辑

文森·威廉·梵高(荷蘭語:Vincent Willem van Gogh) 一生中,创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的,即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)

今年十月,我们游览了荷兰,比利时。  我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆(荷蘭語:van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆。

這幅1889 年 梵高的 《包紮耳朵自画像》(荷蘭語:zelfportret met verbonden oor, F527)  通常展于倫敦 Courtauld Institute Galleries (外借梵高博物館直到9月)。

1887年11月,梵高與剛到巴黎的高更結識。18 8 8年2月,在繪製了200多幅有關巴黎的作品後,梵高厭倦了巴黎的生活,離開了巴黎,前往法国南部的阿尔勒(法语:Arles 、或译亚尔、阿尔)旅居,有可能是打算將這裡當成藝術家园地。高更於1888年10月23日去了阿尔勒拜访梵高,11月搬到黃房子裏。但是二人的關係卻逐漸惡化,梵高景仰高更,希望高更能平等地看待他,但高更生性自大,二人因而多次吵架。這最終導致梵高在12月23日割掉了自己的左耳。割耳事件的具體經過已經無法考證,高更在十五年後回憶起梵高時也只是語焉不詳地說那天晚上充滿了肢體暴力。梵高挥刀割掉自己的左耳(一部分或者全部,不同來源說法不一)。他自己包扎了一下傷口,把割下来的耳朵打包送给了他和高更都认识的一个当地妓女。第二天梵高被警察送往医院,实习医生菲力克斯·雷(Félix Rey)帮他重新处理了伤口,但并未把耳朵縫回去。
由于精神问题,梵高本人也不记得事情经过。随后高更马上离开了阿尔勒。虽然1890年梵高还曾提议要和高更一起在安特卫普建一个画室,但實際二人再未见面。1889年1月7日梵高康复,返回了黄房子,随后的几个月中仍然需要不时前往医院检查精神问题。3月,在30名镇民联署之下,警察强行将梵高安置于医院中接受治疗。4月他搬到菲力克斯医生家。又过了两个月梵高终于离开阿尔勒,自愿住进了羅訥河口省聖雷米的精神病院。(zh.wikipedia.org/文森特·梵高)

Van Gogh moved from Paris to Arles in hopes of creating a community for artists to exist in mutual supportiveness and encouragement. He invited Paul Gauguin, an artist whom he had befriended in Paris, to come stay with him. They proved to be a disagreeable pair and quarreled often, sometimes violently. The evening of December 23, 1888 during one of their arguments, Van Gogh had a seizure during which he threatened Gauguin with a razor, but then injured himself, severing part of his left ear. In a state of excitement, he then brought the dismembered lobe to the Maison de Tolérance bordello where he presented it to a prostitute named Rachel. When Gauguin returned the following morning he discovered that the police had arrived at the house, and blood was splattered in every room. Van Gogh had severed an artery in his neck, and was in grave health after losing so much blood. He was removed to the hospital, and he confessed to having no recollection of what happened during this fit. Throughout his life, Van Gogh continued to suffer from similar fits, sometimes characterized by acute paranoia.

In this self-portrait, Van Gogh is shown wearing a blue cap with black fur and a green overcoat, with a bandage covering his ear and extending under his chin. He is in a traditional three-quarter view, and his forward gaze falls slightly to the right, out of the frame. Behind him is an open window, assumedly letting in a winter breeze, a canvas on an easel, with a few indistinguishable marks, as well as a Japanese woodblock print. This woodblock print has been identified as a Geishas in a Landscape published by Sato Tokyo in the 1870s. This shows an important influence of Japonism and wood block print on Van Gogh's work, which also appear in the background of other portraits he had created. The painting is composed of impasto strokes, mostly in a vertical pattern. This creates a texture, which comes up off the canvas and adds dimension to the flat surface. The skin tone is muted with green and yellowish tones. The bandage covering Van Gogh's ear in this painting alludes to his most famous conflict. Van Gogh used a mirror for his self-portraits which is why some mistakenly think that he lost part of his right ear instead of his left. (en.wikipedia.org/Self-Portrait with Bandaged Ear)
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 楼主| 发表于 2020-2-25 01:00 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-26 00:13 编辑

《圣玛丽海滩上的渔船》(荷蘭語: Vissersboten op het strand van Les Saintes-Maries-de-la-Mer) ,目前收藏在荷蘭的梵高博物館內。

『1888年6月,梵高来到离阿尔勒50公里的圣玛利,这是地中海边的渔村,他在此完成了几幅以渔船为画题的作品。他在499信中告诉提奥,地中海的色彩千变万化,有如鲸鲁一般,不知道什么时候会变成绿色、变成紫色,或变成青色……。然而,变化万千的海面虽然美丽而奇幻,却不如形状变化多端、红绿色对比强烈的渔船更能深深打动他的心。他把眼睛所捕获的色彩鲜丽的渔船,清晰地画在前景,省略其他部分来暗示远方,让人感到这是采用了日本版画中扩大空间的手法。在细部的省略与夸张的变形中,则突出了空间上的深度。』(Laihuihua.com)

Can you see why these fishermen's boats appear slightly unreal? Compared to the irregular surface of the sandy beach, they've been painted in an overly two-dimensional way. The boats are made up of areas of uniform colour within strong outlines. Furthermore, the boats don't cast shadows on the beach. These stylistic elements were familiar to Van Gogh from his collection of Japanese prints.  Van Gogh would have preferred to make this painting on the beach, but he couldn't, because the fishermen put out to sea very early every morning. He did draw the boats there, however, and later made this painting at home. (vangoghmuseum.nl)
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 楼主| 发表于 2020-2-26 00:02 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-27 03:58 编辑

梵高在1888年2月赴法国南部的阿尔勒(法语:Arles 、或译亚尔、阿尔)旅居,有可能是打算將這裡當成藝術家园地。1888年8月,在西奧的鼓動下,高更決定去和梵高住一陣子。梵高爲此租下了黃房子,並買了兩張新床。9月17日梵高搬進了粗略裝修好的新家。高更於10月23日抵達阿尔勒,11月搬到黃房子裏。(zh.wikipedia.org/文森特·梵高)

《黃房子》(荷蘭語:Het gele huis),有時也被叫做《街道》(荷蘭語:De straat)是19世紀荷蘭後印象派畫家梵高1888年在阿尔勒完成的油畫,其正中繪製的即是他在阿尔勒的居所“黃房子”。该画现藏于梵高博物馆。

這房子位於法國 阿尔勒 o拉馬丁廣場(Place Lamartine) 2 號的右翼,1888年5月1日,梵高在那兒租了四間房間。他使用地面樓層(一樓)的兩個大房間,當作用作私人畫室(工作室)和廚房。二樓有兩個較小的房間面向拉馬丁廣場。二樓轉角附近,有兩扇百葉窗打開的窗戶,這是梵高的客房,高更自1888年10月下旬起在這裡住了九個星期。後面有一扇百葉窗關閉的窗戶,這是梵高的臥室。後面的兩個小房間,梵高之後也曾租用。

現實中的黃房子經過多次重建,1944年6月25日因盟軍的一次轟炸而毀壞嚴重,隨後被拆除。

畫中左側的是一家雜貨店和公共花園,右側的建築是梵高常光顧的一家飯店,其老闆娘、寡婦Venissac即是黃房子的業主。此外就是蒙馬儒大道(Avenue Montmajour)和一座鐵路橋。(zh.wikipedia.org/黃房子 (梵高)  

In May 1888, Van Gogh rented four rooms in a house on Place Lamartine in Arles (southern France). The green shutters in this painting of the square show where he lived. Shortly after moving into the ‘Yellow House’, he sent Theo a description and sketch of his painting of it: ‘it’s tremendous, these yellow houses in the sunlight and then the incomparable freshness of the blue.’  
The work, which Van Gogh himself called ‘The Street’, records the artist’s immediate surroundings: he often ate at the restaurant on the left, and the home of his friend, the postman Joseph Roulin, lay just beyond the second railway bridge.  
Vincent had finally found a place at the Yellow House where he could not only paint but also have his friends come to stay. His plan was to turn the yellow corner-building into an artists’ house, where like-minded painters could live and work together. (vangoghmuseum.nl)

我們於2014年前往法國普羅旺斯,參觀了以梵高畫作聞名的兩個城市。阿尔勒的路標上顯示了梵高畫作的位置,例如《星空下的露天咖啡座》等。拉马丁广场离火车站不远,但黄房子不见了。 从拉马丁广场步行五分钟,我们站在罗纳河畔,正是梵高画了《罗纳河上的星夜》法语:Nuit étoilée sur le Rhône 、或译《隆河上的星夜》的地点。该画现藏于法国巴黎的奥塞美术馆。油畫照片和極限明信片請看文森·梵谷 (Vincent van Gogh) 的《罗纳河上的星夜》(Nuit étoilée) 。
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 楼主| 发表于 2020-2-26 00:15 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-27 04:03 编辑

《阿尔勒的臥室》(法语:La Chambre à butts,荷兰语:Slaapkamer te Arles)是荷蘭畫家 梵高的著名作品之一。他於1888年與1889年在法國普羅旺斯的阿尔勒所繪。梵高總共繪製了3幅畫,目前收藏在荷蘭的梵高博物館、芝加哥藝術博物馆與奧塞美術館內。(zh.wikipedia.org/在亞爾的臥室)

梵高在牧师弗雷德里克·萨勒(Frédéric Salles)的陪同下于1889年5月8日住進了阿尔勒 30公里(19英里)外聖雷米的精神病院。精神病院和周邊景色成爲了這段時期他作品的主題,如《星夜》(極限明信片請看 文森·梵谷 (Vincent van Gogh) 的 《星夜》(荷語:De sterrennacht)。此外根據回憶,他創作了《阿尔勒的臥室》的另外兩個版本。目前收藏在芝加哥藝術博物馆與奧塞美術館內。(zh.wikipedia.org/文森特·梵高)

While he was in Arles, Van Gogh made this painting of his bedroom in the Yellow House. He prepared the room himself with simple furniture and with his own work on the wall. The bright colours were meant to express absolute ‘repose’ or ‘sleep’. Research shows that the strongly contrasting colours we see in the work today are the result of discolouration over the years. The walls and doors, for instance, were originally purple rather than blue. The apparently odd angle of the rear wall, meanwhile, is not a mistake on Van Gogh’s part – the corner really was skewed. The rules of perspective seem not to have been accurately applied throughout the painting, but this was a deliberate choice. Vincent told Theo in a letter that he had deliberately ‘flattened’ the interior and left out the shadows so that his picture would resemble a Japanese print. Van Gogh was very pleased with the painting: ‘When I saw my canvases again after my illness, what seemed to me the best was the bedroom.’ (vangoghmuseum.nl)

我們於2014年前往法國普羅旺斯,參觀了以梵高畫作聞名的兩個城市。阿尔勒的路標上顯示了梵高畫作的位置。拉马丁广场离火车站不远,但黄房子不见了,因此看不到他的卧室。
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 楼主| 发表于 2020-2-27 03:52 | 显示全部楼层
《高更的椅子》(荷蘭語: De stoel van Gauguin) ,目前收藏在荷蘭的梵高博物館內。

30幅梵高的画悬挂在黄房子的墙上。其中有《黄房子》、《阿尔勒的臥室》、《高更的椅子》、《罗纳河上的星夜》、《向日葵》。目前收藏在荷蘭的梵高博物館內有《黄房子》、《阿尔勒的臥室》、《高更的椅子》。(en.wikipedia.org/Décoration_for_the_Yellow_House)

This painting of Paul Gauguin's chair is a 'portrait' of Van Gogh's friend and fellow artist. The modern novels and burning candle on the green seat cushion symbolize the character of the absent painter.  Using mainly red and green hues, Van Gogh tried to suggest the mood of night. He also painted a pendant of this work with a daytime atmosphere: his own simple peasant chair in bright yellow and blue. The two paintings represent the different personalities of the two artists, who quarrelled and went their separate ways soon afterwards.  Van Gogh skilfully captured the bluish shadows and reflected light on the polished wood of the chair. These were created by the gas lighting (a gas lamp can be seen in the background). (vangoghmuseum.nl).
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 楼主| 发表于 2020-2-28 00:47 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-2-28 00:50 编辑

這幅1888年 高更的 《高更自画像》(荷蘭語: Zelfportret met portret van émile Bernard (Les misérables) ,目前收藏在荷蘭的梵高博物館內。

梵高住在阿尔勒时,高更和伯纳德在布列塔尼一起工作。 梵高要求他们互相交换肖像,但他们各自向梵高送了自画像。這幅1888年的 《高更自画像》是高更向梵高交换的自画像,背景墙上挂着伯纳德肖像画。

Van Gogh knew that Japanese printmakers often exchanged work with one another. The idea appealed to him, so he suggested that he, Paul Gauguin and Emile Bernard should do the same: ‘It clearly proves that they liked one another and stuck together, and that there was a certain harmony among them [. . .] The more we resemble them in that respect, the better it will be for us.’ His friends both sent self-portraits, with a likeness of the other artist in the background.
Gauguin painted himself in the guise of Jean Valjean, the main character of Victor Hugo’s novel Les Misérables, equating the vibrant and loving fictional outcast with the misunderstood artists of his time. He wrote: ‘By doing him with my features, you have my individual image, as well as a portrait of us all, poor victims of society, taking our revenge on it by doing good’. The cheerful floral pattern on the wall was Gauguin’s way of testifying to ‘our artistic virginity’. Van Gogh was impressed by the portrait’s melancholy character. He described the shadows in Gauguin’s face as ‘lugubriously tinged with blue’ and noted that he looked ill and tormented.’ (vangoghmuseum.nl)
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