小小书世界的个人资料

【油画】《罗纳河上的星夜》（Starry night over the Rhône）画作名称： Starry Night Over the Rhône 中文名称：罗纳河上的星夜画家：梵高 Vincent van Gogh 作品年份： 1888年原作材质：布面油画画作尺寸： h72.5cm×w92cm 馆藏链接：巴黎奥赛美术馆藏　　《罗纳河上的星夜》是荷兰后印象派画家文生·梵高于1888年创作的著名油画，显示了法国南部城市阿尔勒的罗纳河上的夜景。　　短促的堆积用笔，非写实的画面典型的印象派，唯美的构图是画家结合现实的小镇，加入自己的理想主义创作的，寥寥几笔勾勒出河岸线，着重点是天空和河面，右下角的点睛之笔动态的河面拍打停泊的小舟，一对夫妇的散步把画面直接衍生到弧形的河岸。　　运用冷色迷人的深蓝短线铺满整个夜空，强而有力的笔触表达出夜的深沉神秘与无法预测，而点缀其上的微明星子，与倒映在河面上的瓦斯灯灯影相互辉映，深蓝与亮黄的强烈对比让作品表达出画家内心澎湃的感动，略带稚拙地描绘平静河面上的灯影，是梵高内心急欲分享与寂寞的率直表现。　　蓝色主调抹上黄调的星光河沿岸灯火，一对男女在河畔牵手夜行，那是罗纳河最典型的浪漫之夜。

【油画】Johannes Cornelisz. Verspronck《穿蓝衣女孩肖像》画作名称： Portrait of a Girl Dressed in Blue 中文名称：穿蓝衣女孩肖像画家： Johannes Cornelisz. Verspronck 作品年份： 1641年原作材质：布面油画画作尺寸： h 82cm × w 66.5cm 馆藏链接：荷兰国立博物馆　　Why is this portrait so popular? Because it depicts an adorable child dressed in her Sunday best? As was the custom of the day, the young girl is portrayed as a small adult lady. That she is playing a role is betrayed only by her facial expression. Unfortunately, we know nothing about her identity or her family. Perhaps she resided in Haarlem, like the portraitist Verspronck. （百度翻译直译：这幅画为什么这么受欢迎？因为它描绘了一个可爱的孩子，穿着她最好的衣服？按照当时的风俗，这个年轻女孩被描绘成一个成年的小女士。她扮演的角色只是被她的面部表情所背叛。不幸的是，我们对她的身份和家庭一无所知。也许她住在哈勒姆，就像肖像画家弗斯隆克一样。）

【油画】《埃克河边的磨坊》（mill at wijk near duursteede）画作名称： mill at wijk near duursteede 中文名称：埃克河边的磨坊（韦克的风车）画家：雅各布·凡·雷斯达尔作品年份： 1670年原作材质：油画画作尺寸： 101x83 cm 馆藏链接：阿姆斯特丹国家美术馆　　《埃克河边的磨坊》是画家雅各布·凡·雷斯达尔创作于1670年的一幅油画。现藏于阿姆斯特丹国家美术馆，这一幅表现乡村磨坊的风景画，是具有时代的典型意义的。它是对大自然的歌颂，也是对荷兰面粉工业发展的赞美：在一条碧波荡漾的河湾旁，高大的磨坊风车像一座钟楼耸立在云彩翻滚的天际，形象巍然。阳光透过云层，照耀着远处的教堂尖顶，色彩斑斓闪烁。左侧可见到停泊着的船只，右边中景上有几位农村妇女在小径上漫步而行。画家描绘的是典型的荷兰农村景色，风草萋萋，树影婆娑，水光云霓，抒发出一种安谧宁静的诗情画意。　　《埃克河边的磨坊》被艺术史家称为“这是歌颂大自然的潜力与发达的荷兰面粉工业的赞美诗，是典型的描写荷兰本土风物的风景画。”

【油画】《静物与奶酪》（Still Life with Cheese）画作名称： Still Life with Cheese 中文名称：静物与奶酪画家： Floris Claesz. van Dijck 作品年份： 1615年原作材质：板上油画画作尺寸： h 82.2cm×w111.2 cm 馆藏链接：荷兰国立博物馆（阿姆斯特丹国家博物馆）　　《静物与奶酪》是Floris Claesz. van Dijck的作品，他是荷兰静物画的先驱者之一。水果、面包和奶酪都按类型分组，桌上铺着昂贵的锦缎桌布。令人咋舌的现实幻想，看起来很容易就能触摸到桌子的边缘。　A table with a white linnen and pink silk damask is laid with a pewter dish containing three cheeses, before which a Chinese dish with nuts or olives and another pewter dish with half an apple. To the right stands a Siegburg ware jug, to the left a Chinese bowl with apples and a pewter plate with white and blue grapes. Also a rummer, some glasses, a bread roll, a knife and a pear. （百度翻译直译：餐桌上摆着一盘白椴木和粉丝锦缎，上面放着三块奶酪的白椴盘子，上面摆着一盘有坚果或橄榄的中餐，另一盘有半个苹果的白椴盘子。右边是西格堡瓷罐，左边是中国的苹果碗，还有白葡萄和蓝葡萄的锡盘。还有一个拉姆炉，一些玻璃杯，一个面包卷，一把刀和一个梨。）

【油画】Franz Xaver Winterhalter《里姆斯基•科萨科夫夫人》画作名称： Portrait of Madame Barbe de Rimsky-Korsakov 中文名称：里姆斯基·科萨科夫夫人画家： Franz Xaver Winterhalter 作品年份： 1864年原作材质：布面油画画作尺寸： h117 x w90 cm 馆藏链接：巴黎奥赛美术馆藏温特哈尔特在肖像画艺术上有独特的表现魅力，他以松弛而流畅的笔法绘制了这幅气质优雅的肖像画《里姆斯基•科萨科夫夫人》。画中19世纪晚期俄国音乐家里姆斯基•柯萨科夫NikolaiRimsky-Korsakov的夫人NadezhdaNikolaevnaRimskaya-Korsakova(俄国钢琴演奏家和作曲家)，身着华丽蓝白条纹长裙，松散而秀美的长发披在胸前，风姿潇洒地坐在椅子上，显露出这位夫人高贵的气质和浪漫的性格。《科萨科夫夫人的眼睛》：眼含伏尔加河的清澈，泪水能滋润出最美的容颜。可是你的心中充满了欢乐，美好的生活无比甘甜。于是上帝让你遇见他，日夜为你弹奏最动听的琴弦。幸福和凄婉都到了极致，会为音乐家爱人的心声珠泪涟涟。那是感谢母亲河的浇灌，总会遥望那七千里的绵延。美丽的眼中是最辽阔的国土，与你相对会忘记西伯利亚的严寒。

【油画】贝尔纳·布菲《设有躺椅的接待厅》画作名称：设有躺椅的招待厅画家：贝尔纳·布菲（Bernard Buffet；1928 – 1999）作品年份： 1997年原作材质：布面油画画作尺寸： 89 x 130 公分馆藏链接：苏富比拍卖行拍品「画，不在于谈论、不在于分析，只在感受。」 ——贝尔纳·布菲（Bernard Buffet）法国画家贝尔纳‧布菲之《设有躺椅的接待厅》，此画作之创作灵感來自布菲的最后一间居所——购于1986年、位于法国普罗旺斯的拉波美庄园。此画作描绘了画家对房子的热爱：庄园成为其情感上的荫庇，让他重拾对绘画的热忱及对静谧境界的追求。

【油画】Lawrence Alma-Tadema《不要问我》（Ask Me No More）画作名称： Ask Me No More 中文名称：不要问我画家： Lawrence Alma-Tadema 作品年份： 1906年原作材质：布面油画画作尺寸： 78.8 × 113.6 cm (31 × 44.7 in) 馆藏链接：私人收藏《不要问我》（Ask Me No More）这幅画表现的是一位年青的女子拒绝青年求爱的片段，青年看上去不无遗憾地吻着姑娘的手，殊不知姑娘暧昧的眼神早已透露了心里的秘密：拒绝，不过是恋人玩的矜持的游戏，接受，才是真正两相情愿的结果。劳伦斯·阿尔玛-塔德玛生于荷兰，曾在鲁本斯的安特卫普画室学习绘画，他对当时流行于欧洲大陆的新古典主义绘画有着浓厚的兴趣，并在学画间歇坚持历史学和神学的学习。1863年，他携新婚妻子到意大利度蜜月期间，对意大利庞贝古城遗址产生了浓厚的兴趣。于是发大力研究古代世界的人文知识，并在绘画创作中把学究式的考证和世俗的娱乐性结合到了一起，达到了超脱于古典派绘画的若是若非的境界。在他的作品中，小到衣饰服装（《酒神节之祭》），大到厅堂街道（《远航的祝福》），无一不蕴涵着合乎历史逻辑的匠心；但大理石、甲胄、奴隶等一系列对旧日时光的表现非但没有造成过多的历史负赘感，反而彰显出某种无比隽永的温婉情怀。

【水粉画】Hendrik Meyer《冬天的景色（A Winter Scene）》画作名称： A Winter Scene 中文名称：冬天的景色画家： Hendrik Meyer 作品年份： 1787年原作材质： Black chalk,pen and brown ink,gouache,pen and black ink framing lines 画作尺寸： 37.1 × 48.3 cm 馆藏链接：盖蒂中心(Getty Center) Background Information The Dutch artist Hendrik Meyer illustrated the subject of this watercolor—an idealized version of winter in a Dutch village—in great detail. A barren tree rendered in crisp lines and white highlights dominates the foreground. The sky is filled with gray clouds, smoke pours from a cottage chimney, and a nearby stream is frozen over. A partially submerged rowboat is covered with snow and ice. Despite the frigid weather, people are outside, keeping warm with activities such as chopping and gathering wood, sledding, and ice-skating. Other elements in the scene also suggest movement: a windmill, the chimney smoke, and birds circling or flying in formation. The landscape is filled with delicate textures: grass peeking through snow, a thatched roof, and skaters' trails on ice. About the Artist Hendrik Meyer (Dutch, 1744–93) Meyer is best known for his meticulous draftsmanship of idealized landscapes, finely rendered in watercolor. His drawings are filled with detail but also have a theatrical quality about them. （百度翻译直译：背景资料荷兰艺术家亨德里克·迈耶详细地描绘了这幅水彩画的主题——荷兰村庄里冬天的理想化版本。前景是一棵光秃秃的树，线条清晰，亮白分明。天空布满了灰云，烟从农舍的烟囱里冒出来，附近的小溪被冻住了。部分淹没的划艇被冰雪覆盖。尽管天气寒冷，人们还是在户外，通过砍伐和采集木材、滑雪橇和溜冰等活动来保暖。场景中的其他元素也暗示着运动：风车、烟囱烟雾和盘旋或飞行的鸟群。山水里充满了细腻的纹理：从雪中窥视的草，茅草屋顶，以及冰上滑冰者的小径。关于艺术家亨德里克·迈耶（荷兰，1744-93）迈耶最出名的是他精心绘制的理想化风景，精细的水彩画。他的画充满了细节，但也具有戏剧性。）

【油画】Melville《卷心菜园》（A Cabbage Garden）画作名称： A Cabbage Garden 中文名称：卷心菜园画家： Arthur Melville 作品年份： 1877年原作材质：布面油画画作尺寸： 45.50×30.50 cm 馆藏链接：苏格兰国立美术馆藏 In 1878, Melville he made his debut at the Royal Academy in London with ‘A Cabbage Garden’. This pioneering composition is believed to have inspired Guthrie’s ‘A Hind’s Daughter’ of 1883 . Melville’s painting also illustrates his awareness of other artistic groups in Europe such as the Barbizon and Hague school artists. （百度翻译直译：1878年，梅尔维尔在伦敦皇家学院以“白菜园”首次亮相。据信，这篇开创性的作品激发了格思瑞1883年的《印度的女儿》。梅尔维尔的绘画也说明了他对欧洲其他艺术团体，如巴比松和海牙学派艺术家的认识。）

【水彩画】《研究马》（Study of Horses）画作名称： Study of Horses 中文名称：研究马画家：佚名作品年份：未知原作材质： watercolor on paper 画作尺寸： 19.9 ｘ24.9 cm 馆藏链接：石桥艺术博物馆藏

【油画】Juan Bautista Martínez del Mazo《穿着宗教服的孩子》画作名称： A Child in Ecclesiastical Dress 中文名称：穿着宗教服的孩子画家： Juan Bautista Martínez del Mazo 作品年份： 1666年原作材质：布面油画画作尺寸： 167.3 x 121.9 cm 馆藏链接：托莱多艺术博物馆藏《A Boy in a Pink Skirt》 The tender flower of youth Frozen in time Placed on stage For all to adore. Draped in crimson beauty, With hair like the flowing sea, He grasps the Holy Scripture, Rested on waves of fiery gold Touched by daisies. Wisps of spring play at his back While cool breezes of dusk drift in. That face, pure as snow, With eyes of piercing divinity, Probe the outside world, Always asking; “Why pink?” （百度翻译直译：《穿粉红色裙子的男孩》青春娇嫩的花朵冻结的时间放在舞台上让所有人爱慕。披着深红的美丽，头发如流动的大海，他掌握了圣经，在炽热的金色波浪之上感动的雏菊。在他背起缕缕春天当黄昏的凉风飘进来。那张脸，纯洁如雪，带着穿透神的眼睛，探索外面的世界，总是问：“为什么粉红色？”）

【油画】《希望》（Hope）画作名称： Hope 中文名称：希望画家： George Frederic Watts 作品年份： 1886年原作材质：布面油画画作尺寸： w111.8 x h142.2 cm 馆藏链接：泰特美术馆

【油画】《詹姆斯·加菲尔德》（James Garfield）画作名称： James Garfield 中文名称：詹姆斯·加菲尔德画家： Ole Peter Hansen Balling 作品年份： 1881年原作材质：布面油画画作尺寸： w51.8 x h61.6 cm 馆藏链接：华盛顿国立肖像馆备注信息：美国第二十任总统James Garfield（1831-1891）的肖像

【油画】《六月》（JUNE）画作名称： JUNE 中文名称：六月画家： Bryson Burroughs 作品年份： 1918年原作材质：布面油画画作尺寸： 76.52 x 91.76 cm 馆藏链接：菲利普美术馆

【油画】《赫拉克利特》（Heraclitus）画作名称： Heraclitus 中文名称：赫拉克利特画家： Johannes Moreelse 作品年份： 1630年原作材质： paneel, olieverf（荷兰语）画作尺寸： 59.7 x 68.8 cm 馆藏链接： Centraal Museum 备注信息：赫拉克利特（纪元前五世纪的希腊哲学家）　Due to their opposing views of humanity, the Greek philosophers Heraclitus and Democritus are often depicted together. Even in antiquity, Heraclitus was known as ‘the weeping philosopher’, who lamented the human lot – whereas Democritus could only laugh at its absurdity. In the 17th century, the transience of man, Vanitas Mundi, was a popular theme. The two philosophers with the globe – the symbol of humanity – express a simple message: whether you laugh or cry, it makes no difference to our existence. （百度翻译直译：由于他们对人性的对立观点，希腊哲学家赫拉克利特和德意志民主共和国经常被描绘在一起。即使在古代，赫拉克利特也被称为“哭泣的哲学家”，他哀叹人类的命运——而德谟克利特只能嘲笑它的荒谬。在十七世纪，人的短暂，Vanitas Mundi，是一个流行的主题。这两位世界哲学家——人类的象征——表达了一个简单的信息：不管你笑还是哭，它对我们的存在没有影响。）

【油画】《报喜》（The Annunciation）画作名称： The Annunciation 中文名称：报喜画家： Arthur Hacker 作品年份： 1892年原作材质：布面油画画作尺寸： 231.1 x 125.7 cm 馆藏链接：泰特美术馆　Hacker was one of a generation of British artists who trained in Paris. Here he developed a style that harmonised plein air realism with academic idealism. His art was also influenced by his travels in Spain and Morocco as indicated by the lighting and setting of this painting. The subject derives from the 2nd century Protevangelium of James which describes Mary receiving the Annunciation from an invisible angel while gathering water from a well. Infra-red photography reveals that the composition originally featured a woman wearing a headscarf seated, behind Mary, at the lower left. （百度翻译直译：Hacker是在巴黎受训的一代英国艺术家之一。在这里，他发展了一种风格，使柏林空气现实主义与学术理想主义相协调。他的艺术也受到了他在西班牙和摩洛哥的旅行的影响，如这幅画的照明和设置。这个主题来源于2世纪的《詹姆斯的蛋白凝胶》，它描述了玛丽在从井中收集水时从一个看不见的天使那里接收到通知。红外摄影显示，这幅作品最初描绘的是一位妇女戴着头巾，坐在玛丽后面，左下角。）

【油画】梦（Dream）画作名称： Dream 中文名称：梦画家： Joan Brull 作品年份：约1905年原作材质：布面油画画作尺寸： 200 x 141 cm 馆藏链接：加泰罗尼亚国家艺术博物馆

【国画】徐悲鸿《骋马图》画作名称：骋马图画家：徐悲鸿作品年份：近现代原作材质：纸本，设色画作尺寸：纵89.2cm，横81.8cm 馆藏链接：故宫博物院藏【徐悲鸿骋马图轴】　　徐悲鸿《骋马图》轴，近现代，纸本，设色，纵89.2cm，横81.8cm。自题：“廿八年四月悲鸿客星洲。”钤“东海王孙”白文长方印。另有韩槐准题记一则，钤朱文印三方：“槐准最珍”、“韩俊公十三世孙司愚趣斋中”、“痴瓷醉匋”。　　廿八年即指民国廿八年（1939年），徐悲鸿时年44岁。　　徐悲鸿在星洲（新加坡）期间，与当地文士韩槐准结下深厚的友谊，并为韩槐准创作了不少优秀的作品，本幅便是他赠予韩氏的作品之一。　　图绘一匹骏马蹄踏秋草急驰飞奔的情景。徐悲鸿绘马是在尊重中西方传统绘画技法的基础上外师造化，注重写生，形成了自己的鲜明特点：其所画之马头部常留一道空白，或施一笔白粉，表现出马头部的高光，以增强立体感和马首坚硬的质感。马的颈部和腹部以软毫笔着浓墨一笔勾画，弧线粗重，富有弹性，表现出肌肉的力度。马的鬃毛和尾部在运笔施墨上杂而不乱，其虚实相间的笔触，浓淡、干湿互衬的墨气，表现出骏马驰骋时鬃毛飞扬的飘逸洒脱。撰稿人：李湜

【油画】《巴黎新桥》（Pont Neuf, Paris）画作名称： Pont Neuf, Paris 中文名称：巴黎新桥画家：雷诺阿（Auguste Renoir）作品年份： 1872年原作材质：布面油画画作尺寸： 75.3 x 93.7 cm 馆藏链接：美国国家美术馆　While his figure paintings are better known, Renoir's landscapes resonate with a vigor and freshness of vision central to the development of impressionism, most apparent here in his transcription of the effects of sunlight. Midday sun suffuses the panorama, its intensity heightening the artist's palette and suppressing incidental detail to clarify the crowded scene. 　Edmond Renoir, the artist's younger brother and a novice journalist in 1872, later recounted the inception of this painting in an interview. He told how Renoir secured an owner's permission to occupy an upper floor of a café for one day to depict the view of the famous bridge. Edmond periodically delayed passersby long enough for the artist to record their appearance. Renoir even noted Edmond's presence, walking stick in hand and straw boater on his head, in two locations. 　If, as Edmond indicated, Pont Neuf, Paris was painted during a single day, it was preceded by careful preparations, possibly including preliminary delineation of the permanent architectural features. The painting seems more richly nuanced and the subject laden with broader meaning than Edmond's anecdote would suggest. Painted in the wake of the Franco–Prussian War and ensuing civil strife that had devastated France in 1870 and 1871, Renoir's 1872 image shows a representative sampling of French citizenry crossing the oldest bridge in Paris, the intact heart of the recovering country. （百度直译：虽然他的人物画比较有名，但雷诺瓦的山水画却与印象派发展的核心活力和鲜活的视觉产生共鸣，最明显的是他对阳光效果的刻画。正午的太阳充斥着全景，它的强度提高了艺术家的调色板，抑制了偶然的细节，以澄清拥挤的场面。爱德蒙·雷诺瓦，艺术家的弟弟，1872年的一名新手，后来在一次采访中讲述了这幅画的诞生。他讲述了雷诺阿如何获得业主的许可，在一家咖啡厅的上层住一天，以描绘这座著名桥的景色。爱德蒙定期拖延过路人，让艺术家记录他们的外貌。雷诺阿甚至注意到爱德蒙的出现，手杖和头上的稻草人在两个地方。如果，如爱德蒙所指出的，巴黎的诺伊夫桥是在一天之内被绘画的，那么在绘画之前，必须仔细准备，可能包括对永久建筑特征的初步描绘。这幅画似乎更加细致入微，主题比爱德蒙的轶事更有意义。在1870年和1871年摧毁了法国的法普战争和随后发生的内乱之后，雷诺阿在1872年的照片中展示了法国公民穿过巴黎最古老的桥梁的代表性采样，这座桥是正在恢复的国家的完整心脏。）

【油画】《我的首次布道》（My First Sermon）画作名称： My First Sermon 中文名称：我的首次布道画家： John Everett Millais 作品年份： 1963年原作材质：布面油画画作尺寸： 92cms 馆藏链接： Guildhall Art Gallery & London's Roman Amphitheatre The little girl is the artist's five-year-old daughter Effie and this was the first time that he used any of his children as models. She is sitting in one of the old high-backed pews in All Saints Church, Kingston-on-Thames, which Millais hurried to paint in December 1862 shortly before they were removed. This painting was extremely popular when it was first exhibited at the Royal Academy, causing queues around the block. It was praised as a charming depiction of childhood innocence and piety. （百度直译：这个小女孩是艺术家5岁的女儿埃菲，这是他第一次用他的孩子做模特。她正坐在泰晤士河畔金斯敦万圣教堂的一张高背椅上，米莱斯1862年12月在被移走之前匆忙地去粉刷它。这幅画在皇家学院首次展出，在街区周围排起了长队，非常受欢迎。它被誉为对童年天真无邪和虔诚的一种迷人的描写。）

【油画】《在加利福尼亚的内华达山脉》画作名称： Among the Sierra Nevada, California 中文名称：在加利福尼亚的内华达山脉画家： Albert Bierstadt 作品年份： 1868年原作材质：布面油画画作尺寸： 183 x 305 cm 馆藏链接：史密森尼美国艺术博物馆　Albert Bierstadt's beautifully crafted paintings played to a hot market in the 1860s for spectacular views of the nation's frontiers. Bierstadt was an immigrant and hardworking entrepreneur who had grown rich pairing his skill as a painter with a talent for self-promotion. He unveiled his canvases as theatrical events, selling tickets and planting news stories—strategies that one critic described as the "vast machinery of advertisement and puffery." A Bierstadt canvas was elaborately framed, installed in a darkened room, and hidden behind luxurious drapes. At the appointed time, the work was revealed to thunderous applause. This painting was made in London and toured through Europe to St. Petersburg, fueling Europeans' interest in emigration. Buoyed by glowing reviews, Bierstadt then offered the painting to American audiences who could take pride in an American artist's skill and in the natural splendors of their young nation. Albert Bierstadt's beautifully crafted paintings played to a market eager, in the 1860s, for spectacular views of the nation's frontier. Bierstadt painted Among the Sierra Nevada, California in his Rome studio. He then showed the canvas in Berlin and London before shipping it to the United States. Works such as this fueled the image of America as a promised land just when Europeans were immigrating to this country in great numbers. 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【油画】《弹竖琴的女人》（La Ghirlandata）画作名称： La Ghirlandata 中文名称：弹竖琴的女人画家： Dante Gabriel Rossetti 作品年份： 1873年原作材质：布面油画画作尺寸： Height: 124 cm (48.8 in); Width: 85 cm (33.4 in) 馆藏链接： Guildhall Art Gallery 　"La Ghirlandata"; shows a woman seated plucking at a harp, surrounded by plants with two angels peering through them. 'La Ghirlandata' is one of several paintings of women playing musical instruments painted by Rossetti between 1871 and 1874 which loosely celebrate music or lyric poetry. His intense use of colour creates a brooding pictorial mood, while the picture's symbolism - although unclear - may reflect Rossetti's unhappy mental condition at this time. In an article in the Art Journal in 1884 his brother William Michael Rossetti claimed that he had intended 'a fateful or deathly purport' through the dark blue flowers in the foreground, which were supposed to be the poisonous monkshood - although, 'being assuredly far the reverse of a botanist', Rossetti painted its harmless relative larkspur by mistake. The honeysuckle and roses around the top of the harp had a personal connotation of sexual attraction, while the harp itself represents music - common metaphor for love and lovemaking. The climbing plant on the right resembles a clematis - its climbing tendrilly habit perhaps symbolizing binding love.

【油画】《动物风景画》（Landscape with Animals）画作名称： Landscape with Animals 中文名称：动物风景画画家： Roelant Savery 作品年份：约1610年原作材质： oil on wood 画作尺寸： 9 5/8 x 13 3/16 in. 馆藏链接：美国印第安纳州立美术馆　The restless entanglement of dense undergrowth, the sinuous tree trunks, and the delicate filigree of leaves are characteristic of late Mannerist landscapes from Northern Europe. The somewhat incongruous trio of two goats and a pelican in the foreground reveal Savery's interest in animal subjects and illustrate his habit of inserting them into his landscape compositions. （百度直译：浓密的灌木丛、弯弯曲曲的树干和纤细的叶子交织在一起，是北欧晚期文雅风景的特征。前景中两只山羊和一只鹈鹕的三重唱有些不协调，这显示了Savery对动物主题的兴趣，并说明了他把动物主题插入风景构图的习惯。）

【蛋彩画】《圣母子》（Madonna and Child）画作名称： Madonna and Child 中文名称：圣母子画家： Marianne Stokes 作品年份： 1907-1908年原作材质： tempera on panel 画作尺寸： 80.1 x 61 cm 馆藏链接：伍尔弗汉普顿美术馆 Summary: Oil painting showing the Virgin Mary with her child in her arms. She is wearing a white headpiece, a rich orange cloak and has a gold halo. Decorating the dark blue background are gold thorns and wild parsley. Description: Many painters have drawn the Virgin Mary and Jesus and it was a particularly popular theme with Italian artists from the Renaissance period. However, most portraits depict the virgin looking at her child. In this picture, she looks up and introduces her young child to the viewer. Across the background are patterned thorny tendrils and wild parsley. These are symbols of the pain and sorrows of motherhood and a warning of the crown of thorns that the Jesus wore as a man. This work was painted at Ragusa in Italy and the model was a young Italian girl from the town. （百度直译：概述：油画展示了Virgin Mary和她的孩子在她的怀里。她戴着白色的头饰，一件富丽的橙色斗篷，金黄色的光环。装饰深蓝色的背景是金刺和野欧芹。描述：许多画家都画过《圣母玛利亚与耶稣》，这是文艺复兴时期意大利艺术家特别喜爱的主题。然而，大多数画像描绘的处女看着她的孩子。在这张照片中，她抬起头向观众介绍了她的孩子。背景是花梗和蔓生的欧芹。这些象征着母性的痛苦和悲哀，是Jesus作为男人穿的荆棘王冠的警告。这幅作品是在意大利拉古萨画的，模特是一个来自小镇的意大利女孩。）

【油画】《懒惰女人》（Perezosa）画作名称： Perezosa (Idle Woman) 中文名称：懒惰女人画家： Daniel Hernández Morillo 作品年份： 1906年原作材质：布面油画画作尺寸： w105 x h70 cm 馆藏链接： Lima Art Museum

【水彩画】《晚祷，1839》（The Evening Prayer, 1839）画作名称： The Evening Prayer, 1839 中文名称：晚祷，1839 画家： Martin Malharro 作品年份： 1839年原作材质： watercolor and pencil 画作尺寸：馆藏链接：维也纳阿尔贝蒂娜博物馆人物（从左至右）： Archduke Karl Ludwig of Austria (1833 - 1896), son of Archduke Franz Karl of Austria (1802-1878) and his wife Princess Sophie of Bavaria (1805-1872) Archiduchess Maria Anna of Austria(1835 - 1840), daughter of Archduke Franz Karl of Austria (1802-1878) and his wife Princess Sophie of Bavaria (1805-1872) Archduke Ferdinand Maximilian of Austria (1832-1867), son of Archduke Franz Karl of Austria (1802-1878) and his wife Princess Sophie of Bavaria (1805-1872), and future Maximilian I of Mexico. Archduke Franz Joseph of Austria, future Franz Joseph I of Austria (1830-1916), son of of Archduke Franz Karl of Austria (1802-1878) and his wife Princess Sophie of Bavaria (1805-1872) Princess Sophie of Bavaria (1805-1872), wife of Archduke Franz Karl of Austria.

【油画】《镜中的詹陶夫人》（Madame Jeantaud au miroir）画作名称： Madame Jeantaud au miroir 中文名称：镜中的詹陶夫人画家：德加（Edgar Degas）作品年份：约1875年原作材质：布面油画画作尺寸： H. 70; W. 84 cm 馆藏链接：奥赛博物馆　The familiar, comfortable realism of this painting is characteristic of the portraits of the 1870s, but the composition is highly original. Indeed the model appears in a three-quarter view with her head turned away and seems to be glancing at herself in the mirror before she goes out. The reflection therefore seems to be looking straight at the spectator, who is caught in the centre of a complex series of glances from Berthe-Marie to the spectator via the mirror. The mirror, symbolising the virtual and the illusory, short circuits the depth of traditional perspective. Central to the composition and the dynamic it creates, the reflection is swiftly brushed in black whereas the model is more precisely painted and more carefully worked over. 　Whereas the academic painters focused on rendering the costumes, as the very official artist Henner did in his portrait of Madame Jeantaud, or rather of her dress, Degas transformed the genre with this highly original, lively image. 　A transitional space between realist painting which imitates the real world and synthetic painting which offers another reality, this painting triggered Degas' research into multiple viewpoints of the same object, an approach which seems to presage the Cubist portraits of Braque and Picasso. （百度直译：这幅画熟悉的、舒适的现实主义风格是十九世纪七十年代肖像画的特征，但构图非常新颖。的确，模特在走出去前头朝后照了照镜子，看起来是四分之三的样子。因此，倒影似乎直视着观众，观众被从贝瑞-玛丽通过镜子向观众的一系列复杂目光所吸引。镜子象征着虚幻和虚幻，缩短了传统视角的深度。在构图和动态创建的中心，反射被快速地刷成黑色，而模型被更精确地绘制和更仔细地处理。尽管学术画家专注于渲染服装，正如官方艺术家亨纳在珍托夫人的肖像画，或更确切地说，她的衣服，德加改变了风格与这个高度原创，生动的形象。这幅画是模仿现实世界的现实主义绘画与提供另一种现实的合成绘画之间的过渡空间，这幅画激发了德加对同一物体的多个视点的研究，这种方法似乎预示着布拉克和毕加索的立体主义肖像。）

【油画】《康乃馨、百合与玫瑰花》画作名称： Carnation, Lily, Lily, Rose 中文名称：康乃馨、百合与玫瑰花画家： John Singer Sargent 作品年份：约1885年原作材质：布面油画画作尺寸： 174 x 153.7 cm 馆藏链接： Tate Britain 　　《康乃馨、百合与玫瑰花》是萨金特精心绘制的传世经典作品，很多人会被这幅异常优美的画所深深地吸引，并产生一种莫名的感动。这幅画描绘的是两个孩子在花丛中点灯笼的情景。我们看到，在如诗的画面里伫立着两个天使般的小女孩，她们带着天真的梦想正小心翼翼地把灯笼挂在花枝上，灯笼为鲜花抹上一层温暖的光芒，于是，娇艳的花朵变得沉默而高贵，柔和而纯美。烛火柔软的光芒也为两个孩子笼上一层温暖的光芒，映衬出女孩活泼健康的脸庞。　　此刻，人与自然圆融无间地在这个生生不息的生命空间中交流了。当我们站在孩子们的身后，注视着她们的天真时，我们能感觉到自然与天性、心灵与纯洁、人与天地，原来是如此的和谐一体。　　与题材相比，这幅画最具有魅力的是画面千变万化的丰富色彩。原本简单的色彩在光影的巧妙捕捉下变得微妙而丰富，营造出梦境般的氛围，令人赏心悦目。令人惊叹的是，虽然画家重视色彩的表现，但花的形状依然历历可见，丰富的色彩和花的芬芳融为一体。　　这种对色彩的运用有明显的印象派风格。画家萨金特并非印象派成员，但他非常善于用光线表现颜色多层次的内涵，作品总有一种妙不可言的诗意。

【油画】《圣杰罗姆》（St. Jerome）画作名称： St. Jerome 中文名称：圣杰罗姆画家： Master of The Legend of St. Lucy 作品年份： End of the 15th century 原作材质： oil on panel 画作尺寸： w32.5 x h46 cm 馆藏链接：东京国立西洋美术馆　There are two other images of St. Jerome by the "Master of the Legend of St. Lucy." This small panel is probably two thirds of the original painting. St. George and the Dragon must have been represented in small scale in the upper left background in the original composition, but that side of the panel was later cut, leaving only the small figure of the princess. Originally the Crucifixion would have appeared on the left, with a lion beneath, alluding to St. Jerome's act of pulling a thorn from the lion's foot. St. Jerome was one of the four great patriarchs of the Latin church and this work shows St. Jerome in the act of penitence, striking his breast with a stone as he holds a flagel in his left hand. The spire of the cathedral of Bruges appears in the left background, along with the princess saved by St. George. The right background shows two hermits set in a landscape rendered in the minutely intricate brushwork characteristic of 15th-century Flemish painting. In particular, the handling of such flowers as the irises in the lower right is particularly striking. One theory suggests that this painting is a joint work by the Master of the Legend of St. Lucy and the Master of the Legends of St. Ursula. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no. 8) 百度直译：还有两幅《圣露西传奇大师》中圣杰罗姆的肖像。这幅小画板大概是原画的三分之二。在原作中，圣乔治和龙的形象一定是在左上角背景中以小比例出现的，但后来面板的那一边被剪掉了，只留下公主的小身影。最初，十字架会出现在左边，下面是一头狮子，暗指圣杰罗姆从狮子脚上拔出刺的行为。圣杰罗姆是拉丁教会的四位伟大家长之一，这幅画表现了圣杰罗姆的忏悔行为，他左手拿着鞭子，用石头击中胸膛。布鲁日大教堂的尖顶出现在左边的背景中，连同圣乔治拯救的公主。右边的背景是两位隐士，他们以15世纪佛兰德绘画中极其复杂的笔法为特征所描绘的景色为背景。特别是，在右下角的鸢尾花的处理特别引人注目。有一种理论认为，这幅画是圣露西传奇大师和圣乌苏拉传奇大师共同创作的。（来源：西方艺术国家博物馆的杰作，东京，2009，猫。）8号）

【油画】《杰弗里·阿美士德爵士》（Sir Jeffrey Amherst）画作名称： Sir Jeffrey Amherst 中文名称：杰弗里·阿美士德爵士画家： Joshua Reynolds 作品年份：约1768年原作材质：布面油画画作尺寸： 76.2 x 63.5 cm 馆藏链接：耶鲁大学英国艺术中心 Subject Terms armor | army | baron | dark | horse (animal) | man | portrait | riding | sketches | soldier | sword | uniform 主题铠甲 | 军队| 男爵 | 黑暗 | 马（动物） | 人 | 肖像画 | 骑马 | 素描 | 士兵 |剑 | 军服

【水彩画】《耶尼清真寺与伊斯坦布尔港》画作名称： Yeni Camii and The Port of İstanbul 中文名称：耶尼清真寺与伊斯坦布尔港画家： Jean-Baptiste Hilair 作品年份： late 18th century 原作材质： Watercolour on paper 画作尺寸： 40.5 x 57.5 cm 馆藏链接： Pera Müzesi 　As one might conclude from the note the artist inscribed in the lower section of the painting, this work reveals the loading of the antiques collected by French Ambassador Choiseul-Gouffier on boat, to be shipped to France. Choiseul-Gouffier, who, together with Hilair, arrived in the Ottoman Empire for the first time in 1776 to map the Aegean, extensively used Hilair’s paintings in his book, Voyagé Pittoresque de la Gréce. This collaboration between artist and the diplomat, who had a penchant for Antiquity, persevered after Choiseul-Gouffier was appointed as ambassador to İstanbul in 1784. In the lower left section of the painting, one can see the antiques being transported to caiques. Despite the fact that the painting is the depiction of a particular event, the view of the Port before the city silhouette defined by monumental buildings, as well as the routine of daily life also come to the fore. The views of the Golden Horn and the Port, which include local figures smoking pipes, chatting, waiting to embark the boat, are compositions that frequently appear in Hilair’s paintings of İstanbul. 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【著名油画】《幽谷之王》（The Monarch of the Glen）画作名称： The Monarch of the Glen 中文名称：幽谷之王画家： Edwin Henry Landseer 作品年份：约1851年原作材质：布面油画画作尺寸： 163.80 x 168.90 cm 馆藏链接：苏格兰国立美术馆　　1850年兰西尔作为维多利亚女王喜爱的画家而被授予爵位。《幽谷之王》是世界所公认的兰西尔最好的作品，他赋予他笔下的动物以人的表情和美德，这是一幅巨作，这头牡鹿的神态不仅显示了画家的非凡技巧，而且寓含着某些在维多利亚时代被认为非常重要的人类美德。这头牡鹿是高贵的象征，是英雄主义的化身。画中的苏格兰高原景色因司各特小说的描写而广为人知，更因维多利亚女王的莅临而为世人瞩目。

【梵高油画】《卧室》（La Chambre à Coucher）画作名称： La Chambre à Coucher 中文名称：卧室画家：梵高（Vincent van Gogh）作品年份： 1888年原作材质：布面油画画作尺寸： 72.4 cm x 91.3 cm 馆藏链接：梵高美术馆备注信息：三幅类似画作之一　While in Arles, Van Gogh made this painting of his bedroom, which he had fitted out with simple wooden furniture and his own art on the walls. By use of strong, contrasting colours, Van Gogh sought to express particular emotions: here the pale purple of the tiles, the yellow of the furniture and the light violet of the walls are intended to evoke the rest or sleep that he experienced in his bedroom. (See letter to Theo van Gogh, 16 October 1888). 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【日本画】《夏夕》（Summer Evening）画作名称：夏夕英文名称： Summer Evening 画家：橋本関雪作品年份： 1941年原作材质： ink and light color on silk / hanging scroll 画作尺寸： w127.5 x h108.1 cm 馆藏链接：足立美術館　A white fox is sitting under moonflowers on a warm summer evening. The picture is humid, intimating that this scene takes place after an evening shower. The combination of moonflowers and the fox is exquisite. Their whiteness glimmers in the darkness and it reeks of the coolness of summer. The flowers are soft and cottony, and the fox is cool and clear. Kansetsu began painting animals in the Showa era. This painting is an outstanding example amongst his works. The complex look of the white fox illustrates the maturity of Kansetsu’s work. This work was displayed in the fourth New Bunten Exhibition. 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【油画】《鱼贩摊位》（Fishmonger's stall）画作名称： Fishmonger's stall 中文名称：鱼贩摊位画家： Balthasar Nebot 作品年份： 1737年原作材质： Oil on copper 画作尺寸： 30.5 × 25.4 cm 馆藏链接：耶鲁大学英国艺术中心

【油画】米勒《土豆种植者》（Potato Planters）画作名称： Potato Planters 中文名称：土豆种植者画家：米勒（Jean-François Millet）作品年份：约1861年原作材质：布面油画画作尺寸： 82.5 x 101.3 cm 馆藏链接：波士顿美术馆　In Millet’s time, many people considered potatoes unfit food even for animals, but these peasants are planting potatoes for themselves to eat. “Why should the work of a potato planter,” wrote Millet, “be less interesting or less noble than any other activity?” Millet gives the harsh reality of their lives beauty and dignity, placing his solidly modelled, harmonious figures before a hazy landscape just beginning to green in the spring sun. The presence of the donkey and the sleeping child under the tree may recall another poor working family, that of Joseph, Mary, and Jesus. 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【水彩画】《午间休息》（Midday Rest）画作名称： Midday Rest 中文名称：午间休息画家： Elizabeth Adela Stanhope Forbes 作品年份： 1904年原作材质： charcoal, watercolour, gouache & oil on paper 画作尺寸： 46 x 33 cm 馆藏链接： Jerwood Gallery 　Amongst Heroes: The Artist in Working Cornwall is the new exhibition at Two Temple Place, London (26th January-14th April 2013). 　The exhibition explores artistic representations of the Cornish figure at work, primarily between 1880 and 1920. These powerful depictions of working Cornish men and women produced by visiting artists to the region played a significant role in the national development and recognition of Cornwall as a centre for the production of a particular kind of realistic, rural art. 　The show features a loaned piece from the Jerwood Collection, Elizabeth Adela Stanhope Forbes ARWS Midday Rest, circa 1904. For more information about the exhibition click here. 　Image: Elizabeth Adela Stanhope Forbes ARWS, Midday Rest, (detail) circa 1904. 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【油画】《拉弥亚》（Lamia）画作名称： Lamia 中文名称：拉弥亚画家： John William Waterhouse 作品年份： 1905年原作材质：布面油画画作尺寸： 144.7 x 90.2 cm 馆藏链接： Auckland Art Gallery Toi o Tāmaki 　Early in his career Waterhouse painted Graeco-Roman subjects in the manner of Alma-Tadema. However, he was later drawn to the romantic Pre-Raphaelite style, painting the Arthurian legends popularised by poets such as Tennyson. Lamia (a second version painted in 1905 is privately owned in London) was inspired by Keats' celebrated poem of 1820, about a bridegroom who discovers on his wedding night that his bride is a monstrous half-serpent who preys on young men. As such, she is a classic femme fatale. The only visual clue to Lamia's nature is the moulted snake-skin draped about her. 百度翻译：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Ffanyi.baidu.com&urlrefer=7fe2d0a0c6b88f8a2c9266d2ab4cc22d

【油画】《征税员》（Two Tax-Gatherers）画作名称： Two Tax-Gatherers 中文名称：征税员画家： Marinus Van Reymerswaele 作品年份： probably 1540s 原作材质： Oil on oak 画作尺寸： 92 x 74.6 cm 馆藏链接： The National Gallery, London 备注信息：马里努斯·凡·勒美斯瓦勒（Marinus van Reymerswaele），1490-1567年，荷兰画家，受马西斯影响，以讽刺挖苦贪婪之人的风俗画为主。

【油画】Joseph Wright画作《气泵里的鸟实验》画作名称： An Experiment on a Bird in the Air Pump 中文名称：气泵里的鸟实验画家： Joseph Wright 作品年份： 1768年原作材质：布面油画画作尺寸： 183x244cm 馆藏链接：英国国家美术馆　　科学是奇妙的，但有时却是残忍可怕的。约瑟夫·赖特用这幅名为《气泵里的鸟实验》的油画说明了这一点。　　这幅画所描绘的是，在一间昏暗的房间里，人们围聚在桌旁，借助着蜡烛光和窗外射来的淡淡月光，神情各异地看着一位旅行科学家展示他的实验。而这位科学家所做的实验，是把烧瓶中的空气通过气泵抽出后，观察烧瓶中的鸟会怎样。与此同时，在仪器前方的发光玻璃容器中，还隐藏着一个邪恶的头骨…… 　　约瑟夫·赖特在英国绘画史上不大被人们提起。在赖特之前是否有画家还触及过工业方面我们不得而知，但赖特的确是独特的。他专画机器、工厂、实验室环境。他喜欢弄暗环境，并用月光、火光等效果来渲染。这幅《气泵里的鸟实验》就是典型作品之一。

【油画】《玫瑰花》（Roses）画作名称： Roses 中文名称：玫瑰花画家： John Ferguson Weir 作品年份： 1898年原作材质：布面油画画作尺寸： 50.8 x 76.5 cm 馆藏链接：史密森尼美国艺术博物馆

【油画】《憧憬的爱恋》（Love’s Young Dream）画作名称： Love’s Young Dream 中文名称：憧憬的爱恋画家： Jennie Augusta Brownscombe 作品年份： 1887年原作材质：布面油画画作尺寸： w32.125 x h21.25 in (Without frame) 馆藏链接： National Museum of Women in the Arts 　Jennie Augusta Brownscombe is best known for sentimental genre pictures and scenes from colonial history. Love’s Young Dream, one of her most popular paintings, portrays an idealized vision of traditional rural life and family. 　Brownscombe’s ability to create a wealth of believable details adds to the strength of her narrative. A young woman stands on the middle step of her modest home, gazing longingly toward the road. A man on horseback, presumably her romantic interest, appears in the distance. 　Meanwhile, the gray-haired woman—perhaps her mother—glances up from her knitting. Her expression seems to register fondness and concern. The male figure, by contrast, is fully engaged in his reading rather than the narrative unfolding before him. 　Brownscombe contrasts the right-hand side of the picture, where all three figures have been placed, with the left, where an unencumbered view of the landscape stretches back to mist-shrouded hills. 点赞链接：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn%2Fartwork%2Fartwork_oil123.html&urlrefer=ba4f45d8cd2a1f3e0fcb3bac87b6780c 本帖发布的言论可能被IQ Artis.cn选登，谢谢大家的支持！

【油画】《清教徒与骑士》（Puritan and Cavalier）画作名称： Puritan and Cavalier 中文名称：清教徒与骑士画家： Frederick Goodall 作品年份： 1886年原作材质：布面油画画作尺寸： w184.8 x h113 cm 馆藏链接：沃克艺术画廊　This painting seems to be an amusing if rather sinister parody of the Civil War scenes from everyday life painted by the St John's Wood Clique and others of the time. These artists did tend to trivialize events in their search of humour and originality and here Goodall has demonstrated this leaning. The boy dressed as a cavalier is trying to find the girl dressed as a puritan, in order to kiss her under the mistletoe which he is carrying, but only the King Charles II spaniel can find her. Goodall has observed that in Puritan and Cavalier - themed paintings the Puritan is generally female and the Cavalier male; it is not clear why this should be so except that male 17th-century Cavalier costume was particularly enticing to 19th-century artists. The models for the two children were Frederick William and Alice Frederica (or Rica), son and daughter of the artist. The screen contains crewel work with a tree of life pattern; it is probably 19th century in date imitating 17th-century work. 点赞链接：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn%2Fartwork%2Fartwork_oil126.html&urlrefer=be6baf7d599471409b735cc5966ef425 本帖发布的言论可能被IQ Artis.cn选登，谢谢大家的支持！

【油画】《割牧草》（Haymaking）画作名称： Haymaking 中文名称：割牧草画家： Léon Augustin Lhermitte 作品年份： 1887年原作材质：布面油画画作尺寸： 215.9 cm x 265.8 cm 馆藏链接： Van Gogh Museum 　In dit enorme schilderij laat de Franse schilder Léon Lhermitte een boerenfamilie zien die uitrust tijdens het hooien. Waarschijnlijk heeft het werk ook een symbolische lading: jeugd, volwassenheid en ouderdom. De oude man vooraan is uitgerust met een zeis, een traditionele verwijzing naar de (naderende) dood. Zulke symboliek werd eind 19de eeuw in brede kring gewaardeerd, net als de nadruk op de romantische kant van het boerenbestaan. Het hooien kreeg de ‘grand prix’ op de Wereldtentoonstelling van 1889 in Parijs. 　Lhermitte werd bekend als schilder van het boerenleven. Volgens Vincent van Gogh was het geheim van de Franse kunstenaar dat ‘hij ’t figuur in ’t algemeen, n.l. het stoere, strenge werkmansfiguur, door en door kent en in ’t hart van ’t volk zijn motieven grijpt.’ 　Ook Van Gogh hoopte zich te vestigen als boerenschilder. Het werk van Lhermitte was voor hem dan ook een grote inspiratiebron. Regelmatig vroeg hij zijn broer Theo om hem reproducties van Lhermittes schilderijen te sturen. 点赞链接：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn%2Fartwork%2Fartwork_oil125.html&urlrefer=95d6947048e5734c5ca6391c5abebc35 本帖发布的言论可能被IQ Artis.cn选登，谢谢大家的支持！

【莫奈画作】《日出（海洋）》【Sunrise (Marine)】画作名称： Sunrise (Marine) 中文名称：日出（海洋）画家：莫奈（Claude Monet）作品年份： March or April 1873 原作材质：布面油画画作尺寸： 50.2 × 61 cm 馆藏链接： Getty Center 　In the muted palette of the emerging dawn, Claude Monet portrayed the industrial port of Le Havre on the northern coast of France. The brilliant orange of the rising sun glimmers amid the damp air and dances on the gentle rippling water, lighting up its iridescent blues and greens. Barely discernible through a cool haze, pack boats on the left billow smoke from their stacks. Painted during the spring of 1873 as the country struggled to rebuild following the Franco-Prussian war, this Sunrise might also metaphorically suggest a new day dawning in France 　Sunrise exemplifies Monet's plein air, or "outdoor," approach to painting. The informal and spontaneous brushstrokes establish this picture as one of the first works, along with the famous Impression: Sunrise at the Marmottan Museum in Paris, in the Impressionist style that was to make him famous. The ephemeral play of light, water, and air would remain Monet's subject for the rest of his career. 点赞链接：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn%2Fartwork%2Fartwork_oil131.html&urlrefer=92865544deeb32ce91507ba772e8de5d 本帖发布的言论可能被IQ Artis.cn选登，谢谢大家的支持！

【高更画作】《高更自画像》（Self-Portrait）画作名称： Self-Portrait 中文名称：高更自画像画家： Paul Gauguin 作品年份： 1889年原作材质： oil on wood 画作尺寸： H. 116; W. 164 cm 馆藏链接： National Gallery of Art 　Gauguin painted many self-portraits, but few are as enigmatic as this one. It was among the work that Gauguin and his student Meyer Isaac de Haan created to decorate the dining room of the inn where they were staying in Le Pouldu, near Pont-Aven. In the six weeks after their arrival in late 1889, they made dozens of ceramic works, woodcarvings, and sculptures, and covered the walls with paintings. This self-portrait, and one Gauguin did of de Haan, were painted on a pair of cupboard doors. 　At the time, Gauguin's likeness was described by friends as an "unkind character sketch"—a caricature. Today, it is the subject of intense analysis. Some see the artist casting himself in the role of Satan, others as Christ. What are we to make of the imagery—the apples that precipitate man's fall from grace; the halo over Gauguin's disembodied head; the snake that is both tempter of Eve and the embodiment of knowledge; the bold division into vivid yellow and red, evocative of both hellfire and the heat of creation? Perhaps it is most likely that Gauguin is revealing his conception of the artist as hero, and—almost to challenge his colleagues—of himself, particularly, as a kind of magus, a master who knows that he possesses the power of magic by virtue of talent and genius.

【馆藏国画】《墨龙图》画作名称：墨龙图画家：陈容作品年份：南宋原作材质：绢本，墨笔画作尺寸：纵205.3、横131厘米馆藏链接：广东省博物馆备注信息：国宝档案之《墨龙图》　　《墨龙图》由两幅绢本拼接而成，画面不着色，仅以水墨渲染云龙。画面描绘的这条四爪巨龙，怒目而视，张牙舞爪，昂首腾空，外形雄健而威武。整幅画作气势宏伟，用墨沉厚，既有龙身的细笔渲染，又有云气的粗笔涂抹，后人用云蒸雨飞、天垂海立、腾骧夭骄、幽怪潜见来形容画家陈容的作品。在画幅右下角作者自题一首诗：“扶河汉触华嵩普厥施收成功骑元气游太空”，署名：所翁作。题诗表达出作者想要用此画表现龙叱诧风云、势震山河的雄壮意气。诗画相辅相成，使整幅作品更加意义深远，气势磅礴。　　龙，是中华民族的象征，《尔雅翼》中记载，俗画龙之状，有三停九似之说。所谓三停，就是龙身会扭曲成三截，分为龙头、龙身和龙尾，而九似是指龙的头似驼、角似鹿、眼似兔、耳似牛、项似蛇、腹似蜃、鳞似鲤、爪似鹰、掌似虎。《墨龙图》的作者陈容就是综合了有关龙的种种描述，而创作出画中龙的形象。　　这幅距今七百多年的《墨龙图》上没有收藏印章，也曾经出现在广东陈氏祠堂中，可能一直由陈氏后人保管，才得以流传下来。

【国画】《瑶台步月图》画作名称：瑶台步月图画家：佚名作品年份：宋原作材质：绢本，设色画作尺寸：纵25.6cm，横26.7cm 馆藏链接：故宫博物院藏　　本幅无款印。对开清乾隆皇帝题七言绝句一首：步上层台图近月，纎妍笔墨肖娗嫇。紫微诗意分明写，小立依然看两星。钤乾隆内府诸收藏印。《石渠宝笈续编·养心殿》著录。　　图页写中秋仕女赏月情景，人物纤秀，风格婉约，景色空濛。宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了南宋楼阁小品画活泼的表现形式及丰富的表现手法。

【荷兰油画】Jan Miense Molenaer《Allegory of Vanity》画作名称： Allegory of Vanity 中文名称：寓言：虚荣画家： Jan Miense Molenaer 作品年份： 1633年原作材质：布面油画画作尺寸： w127 x h102 cm 馆藏链接： Toledo Museum of Art 　Demonstrating inventiveness and a sly wit, Jan Miense Molenaer, one of the leading painters of genre scenes in Haarlem during the first half of the 1600s, creates a tableau of a wealthy Dutch home that is more than merely a scene of daily life. Nearly every detail symbolically conveys a moral message: the inevitability of death and the emptiness of worldly pleasures (vanitas). A love of material comforts seems apparent in the painting—the embossed and gilded leather chair, the painted virginal, the imported Turkish rug, the box overflowing with jewels, and the velvet, lace, ermine, and gold-embroidered satin of the young woman's costume. Many of the individual objects carry specific associations with the vanitas theme. In addition to the virginal, Molenaer includes an array of musical instruments on the back wall (from left to right: cittern, violin, shawm, lute, recorder, transverse flute, and violoncello). Music had been associated since the Middle Ages with the enticement of the senses, specifically with love and sexuality. A chained monkey was a popular symbol of humankind voluntarily captive to sin. The child blowing bubbles is an allusion to the proverb "Man is like a bubble" (homo bulla), meaning life is fragile and brief. The focal point of the painting is the young woman, her long blonde hair being combed by her well-dressed attendant. She holds a mirror, traditionally associated with personal vanity and the falseness of appearances, and a ring—another indication of luxury. A hemisphere of the tapestry map seems to sit atop her head—a probable allusion to Lady World, the seductive embodiment of worldliness—and her foot rests on a skull, the most common and obvious symbol of the brevity and vanity of earthly existence.

【IQ Artis.cn】画作《Men of Progress（人类的进步）》 google艺术计划让我们在家也能欣赏博物馆的著名画作，通过维基百科或者google Arts & Culture 检索，都会得到画作相关图片和信息，维基百科的图像能够轻松下载，并且连有博物馆链接。虽然艺术计划中中国画作几乎没有，但是国内博物馆和个人博客的评析稍能补足缺陷。这幅《Men of Progress》将它译之为《人类的进步》，画面上画了19位科学家齐聚一堂，这幅画是Jordan Lawrence Mott（燃煤炉的发明者）委托画家Christian Schussele 绘画十八位科学家及Mott的集体肖像。基于google艺术计划，我开办了IQ Artis.cn 网站，作为个人网站，希望大家对艺术品能够进行赏析，是一个锻炼新人画家和鉴赏家语言能力及绘画能力的小场所，网站艺术品展示地址：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn%2Fartwork.html&urlrefer=43efc09de5174565f3c8b9ac8f0e8160 ，《Men of Progress》链接：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn%2Fartwork%2Fartwork_oil115.html&urlrefer=80037010dc2959435c2a8d2510328926画作名称： Men of Progress 中文名称：人类的进步画家： Christian Schussele 作品年份： 1862年原作材质：布面油画画作尺寸： 128.3 x 190.5 cm 馆藏链接： National Portrait Gallery, Washington In 1857, the inventor of a coal-burning stove, Jordan Mott, commissioned Christian Schussele to paint a group portrait of eighteen American scientists and inventors who "had altered the course of contemporary civilization." As with Schussele's celebration of American letters, Washington Irving . . . at Sunnyside, the group portrait did not mark an actual occasion but was designed to honor the achievements of American industry. The artist sketched study portraits of each of his subjects before putting them all into his final, formal composition. Men of Progress is a remarkable document of the growth of the American economy by the 1850s as it celebrates the inventions and processes of manufacturing pioneered by men such as Cyrus McCormick, Charles Goodyear, Samuel Colt, Samuel Morse, Elias Howe, and fourteen others.

【请教】请问这幅画说的是什么？画作名称： The Dew 中文名称：露水画家： Adrià Gual 作品年份： 1897年原作材质：布面油画画作尺寸： 72.5 x 130.5 cm 馆藏链接：加泰罗尼亚国家艺术博物馆没有找到其他信息，想问问有人对这幅画了解吗?看着像仙女。。谢谢！~

【请教】这幅画作中文叫什么名字？如题，这幅画作的中文名称，还有画作介绍的翻译，如果可以麻烦翻译一下，谢谢！~ 画作名称： Святочные гадания 中文名称：神圣的猜测画家： Konstantin Makovsky 作品年份： 1905年原作材质：布面油画画作尺寸： 160 х 232 см 馆藏链接： Государственный музей истории религии В интерьере деревенской избы шесть девушек гадают: пятеро из них собрались вокруг петуха, клюющего зерно около девушки, сидящей слева, что должно предвещать ей скорое замужество. Левее у окна девушка сидит за столом, на столе – вода и свечи. Рядом на скамье сидит спящая пожилая женщина. Государственный музей истории религии. КП-22539, Холст, масло, 160 х 232 см

【油画】请问这幅油画叫什么名字？这幅在维也纳艺术史博物馆（Kunsthistorisches Museum）的油画中文名字叫什么？或者英文名字？谢谢！~Fest des Bohnenkönigs Das Gemälde schildert den flämischen Volksbrauch am Dreikönigstag: Der Finder der in einem Kuchen eingebackenen Bohne wird zum König des Festes, er wählt die schönste Frau zur Königin. Die übrigen Anwesenden übernehmen "Hofämter". Die lateinische Inschrift (dt.: "Keiner ist dem Narren ähnlich als der Betrunkene") verleiht dem überbordenden Treiben einen moralisierenden Unterton. Jordaens setzte sich künstlerisch mit Rubens, Caravaggio und der holländischen Malerei auseinander, entwickelte daraus jedoch einen charakteristischen eigenen Stil.

【IQ Artis.cn原创画作投稿】原创画廊投稿，欢迎大家发图审核 IQ Artis.cn网站已经正常开放了，现阶段还有点赞功能没有实现，这个功能涉及到原创画廊，但是如果录用稿件后期会跟进这个点赞评论功能，欢迎大小画家的原创画作投稿，成功录用的画家和画作可以为自己的空间、微博、微信等做宣传哦！~ 因为大家都不管《画家书册》，看看原创的有没有人愿意投稿，基本上不到一定水平，也就是我的审美水平的作品，我建议放到《画家书册》，这个版面虽然已经设计完成，但是因为书册页有A4纸大小，还有横竖页问题，所以没有原创画廊看起来美观，但是这个页面也有推广链接，可以为您和您的朋友作为画作推广圈使用。配个美图，《あひるの子》（Ducklings），东京国立西洋美术馆藏

【IQ Artis.cn】网站备案成功了，欢迎大家来画作网站玩儿【IQ Artis.cn】网站备案成功了，欢迎大家来画作网站玩儿！~ 这是一个画作网站，刚刚建立不久，今天备案成功，可以开放浏览了！！虽然内容还很少，也都是静态页面，但是比较合适画作的整理，大家有好的建议可以提出来哦，今天过来主要是作推广，网站链接：http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fwww.iqartis.cn+&urlrefer=bca9966992752d540525b2fcbfe62825

【建站】利用网站模板建站有疑问网站模板修改了一下，想添加一些功能，例如按赞。先说出现的一个问题，图片轮播因为网站页面修改失效了，能帮我看看少了什么？都是静态网页，我只会最简单的修改，不找程序员，谢谢。

【绘本】艾玛过化装节

【英文绘本】Where's My Share?

【绘本】小步走路

【绘本】元宵灯