<font color="#ff8a00"><b>Matisse</b></font> He was the founder and chief representative of the brutalist school, known for its use of bright, bold colors.Later, he expanded the field of creation, and his attainments in sculpture, engraving, fresco and illustration also showed his talent.His art reached its peak after 1930, and he was promoted by his peers as the most famous master of fine arts in this century. <div>The left</div><i>The Open </i>, Henri Matisse, National Gallery of Art, Washington D.C.,1905 The picture on the left has a small wall and a large area for s.The casements were wide open to the outside world -- the balconies were filled with flowerpots and vines, and then the sea and the sky and the ships.Here the interior walls and casements were made of wide vertical bars, in bright greens, blues, purples, and oranges;The outdoor world, on the other hand, is a piece of colorful small brushwork decorative patterns.The strokes spread from tiny green dots to wider pinks of red and white, as well as the blue of the sea and sky.<div><br></div><div>左邊的畫面上墻面只占一小部分，窗戶占了一大片地方。窗扉對著外部世界大大敞開——陽臺上擺著花盆，還長著藤蔓，然后就是大海、天空和船只。這里的內墻和窗扉，是由一條條寬寬的豎條構成，用了鮮艷的綠色、藍色、紫色和橙色；戶外世界，則是一片鮮艷的小筆觸構成的裝飾華麗的圖案。筆觸從綠色的小點，擴展到筆觸更寬一點的淡紅色、白色，還有海和天空的藍色。<br></div> Matisse believed that art and painting should be expressive: ‘Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement.’ For Matisse the means of achieving expression was through decorative composition, careful pictorial organisation and the use of colour which matched the sensations of the painter at the time of painting them. <div><br></div><div>馬蒂斯認為藝術和繪畫應該是富于表現(xiàn)力的:“對我來說，表達并不存在于人類臉上的激情，也不存在于劇烈的運動中?！薄皩︸R蒂斯來說，表達的手段是通過裝飾構圖、精心的圖案組織和色彩的運用，這些都與畫家在作畫時的感受相吻合。”</div><div><br></div><div>Indeed there is a dream-like quality to Matisse’s modernist interiors. The interiors he painted – whether with people or without them – seem to exist far apart from the world of ordinary human affairs. Red Room (Harmony in Red), has this effect. <br>事實上，馬蒂斯的現(xiàn)代主義室內作品中有一種夢幻般的質感。他所畫的內部——無論是有還是沒有人——似乎都遠離了日常生活的世界。紅色的房間(和諧的紅色)，有這個效果<br><div><br></div></div><div><br></div><div>The painting has no shadows in it and no sense of depth, it is deliberately flattened by the artist so that all of the components of the painting – the view of the , the woman, the bowls of fruit on the table, have the same decorative quality as the table cloth and wallpaper. </div><div><br>這幅畫沒有陰影,沒有深度,這是故意被藝術家平面化處理,這樣所有這副畫中的組件——窗戶的風景,女人,放在桌子上的水果碗,和桌布和墻紙有相同的裝飾效果。<br></div> My understanding of this painting:<br>The picture is of a fiery red house with a large grassy green outside the .These two contrasting colors, Matisse used the orange edge as the transition color.The colors in the picture are red, blue, green and a small part of yellow.I just see four colors that make up this colorful picture.This painting has no shadow, no volume.It's like a decorative painting.This painting has an impact on me in this class. The decorative pattern on the wall of this painting is the most attractive to me. I can learn to add decorative pattern to indoor painting.<div><br></div><div>這副畫我的理解：<br>這幅畫火紅的房子，窗外是大面積的草綠色。這兩個反差很大的顏色，馬蒂斯把橙色的窗戶邊作為過渡色。在幅畫的色彩大致為紅、藍、綠和小部分的黃。我就看到的四個顏色組成這個色色彩豐富的畫。這幅畫沒有陰影，沒有體積。就像一幅裝飾畫。這幅畫對這節(jié)課對我的影響，這幅畫的墻面的裝飾花紋最吸引我，我可以學習在室內繪畫中加上花紋。<br></div> <b><font color="#ff8a00">René Magritte</font></b><div><b><font color="#ff8a00"><br></font></b></div><div>Rene Magritte has long been an internationally acclaimed surrealist artist, but it was not until the 1950s that he gained fame and recognition.Rene once described his paintings as "my paintings are invisible images, nothing is covered up;They evoke a sense of mystery, and indeed, when people see one of my pieces, they ask themselves a simple question, 'what does that mean?'it doesn't make any sense, because the mystery is nothing, it's unknowable."<b><font color="#ff8a00"><br></font></b></div> <h3 style="text-align: center"><i>Time Transfixed</i></h3> <div>Magritte’s subversion of the bourgeois domestic interior is plain to see in his painting <i>Time Transfixed</i>. This painting was originally designed to be hung in the ball room of a British art collector, Edward James’s, London mansion. Like Hammersh?i’s interiors, there is a ‘hyper-real’ quality to Magritte’s painting of the fireplace.<br></div><div>馬格里特對資產(chǎn)階級家庭內部的顛覆，在他的畫作《被時間定格》中顯而易見。這幅畫原本是要掛在英國藝術收藏家愛德華·詹姆斯的倫敦豪宅的舞廳里。像Hammersh?i的室內作品,在馬格里特繪畫壁爐中有一種“超現(xiàn)實”的感覺。<br></div> It seems to be almost a photographic reproduction or computer-generated image of an interior space in its illusionistic modelling of the fireplace, mantlepiece mirror and clock. It is only when one looks closely, that we can espy surreal or irrational elements. <div><br>在壁爐、壁爐架鏡子和時鐘的虛幻造型中，它似乎幾乎是一個室內空間的攝影復制品或電腦生成的圖像。只有當我們仔細觀察時，我們才能發(fā)現(xiàn)超現(xiàn)實主義或非理性因素。<br><br>For example, the candlestick on the furthest edge of the mantlepiece is not reflected in the mirror while the one closest to the viewer is, and the fireplace is blocked up as though it were not in use.</div><div><br>例如，壁爐架邊緣最遠處的燭臺沒有反射到鏡子中，而最靠近觀察者的燭臺反射到鏡子中，壁爐被擋住了，就像沒有使用過一樣。<br><br>Instead, charging from the centre of the fireplace, as if emerging from a tunnel, is a locomotive, pumping smoke out of the fireplace vent. The rude, absurd placement of this miniature, phallic-shaped steam train, as well as the juxtaposition of the precise realism of the fireplace with the surreal and irrational presence of the train, was deliberately intended to shock and disorient the viewer. </div><div><br>相反，從壁爐中心向外噴射，就像從隧道里出來一樣，是一個火車頭，從壁爐的通風口噴出煙來。這個小的、陽具形狀的蒸汽火車的粗魯?shù)?、荒謬的放置，以及壁爐的精確的現(xiàn)實主義和火車的超現(xiàn)實的、不合理的存在的并置，是故意想要震驚和迷惑觀眾。<br><br>The French title of the work La durée poignardé means ‘ongoing time stabbed by a dagger’, and apparently, the artist ‘hoped that the painting would be installed at the bottom of the collector’s staircase so that the train would “stab” guests on their way up to the ballroom.’[ Art Catalogue of Chicago, catalogue entry, see https://www.artic.edu/artworks/34181/time-transfixed] </div><div><br>這幅名為“La duree poignarde”的作品在法語里的意思是“被匕首刺穿的持續(xù)時間”，顯然，這位藝術家“希望這幅畫被安裝在收藏家的樓梯底部，這樣火車就會在客人前往舞廳的路上“刺傷”他們”。<br><br>The artist later explained this picture: “I decided to paint the image of a locomotive… . In order for its mystery to be evoked, another immediately familiar image without mystery—the image of a dining room fireplace—was joined.”[ Ibid] </div><div> <br>這位藝術家后來解釋了這幅畫:“我決定畫一個火車頭的形象……為了喚起它的神秘感，另一個沒有神秘感的熟悉形象——一個餐廳壁爐的形象——被加入其中?！?同前)<br><br>The concept of juxtaposing并置 the familiar with the unfamiliar picks up on the Freudian concept of the ‘uncanny’ – the effect, in Hammersh?i’s paintings of a chain of rooms opening out onto other rooms. </div><div><br>將熟悉和不熟悉并置概念同弗洛伊德的“神秘”的概念——效果，在Hammersh?i的畫中一個房間開鏈到其他房間。</div> <b><font color="#ff8a00">My understanding of this painting:</font></b><div><br>To be honest, I don't know much about the painting, I don't know what he was trying to say, but I looked at the courseware and understood a little bit.But not many.I can't tell you what this picture means, what it means.But what I find most interesting about this painting is that it combines two unrelated objects together to form a very novel picture.It would make me wonder why he did it, and I would like to know more about this work with curiosity.I think everyone has a different feeling when they see this piece of work, just like Shakespeare's famous saying: "for a thousand readers, there will be a thousand hamlets."It means that everyone has a different interpretation, appreciation and view of the work, so everyone has their own opinion.I think the value of works of art is that they bring different feelings and make the viewer understand something.<br></div><div>我對于這幅畫的理解：<br>說實話，我不太懂這幅畫，我不知道他想表達什么，但我看了課件，懂了一點點。但也不是很多。我說不出這副畫有什么意義，有什么含義。但我看這個畫最吸引我的就是他把兩個不相關的物體組合到一起 ，組成一個很新奇的畫面。會讓我去想他為什么這么做，充滿著好奇會更想了解這幅作品。我覺得每個人看這副作品都是不一樣的感覺，就像莎士比亞的名言：“一千個讀者眼中就會有一千個哈姆雷特?！币馑际敲總€人對這部作品的解讀、賞析和看法都不一樣，所以每個人都有自己的觀點。我覺著藝術品給人帶來不同的感受、讓觀看者懂得一些東西，這也是它們的價值所在。<br></div> This is one of my favorite paintings of his. The white pillars in this painting are like chess pieces, with knights riding on horses in the middle of the separate path.The top of the painting is plant cover.The painting feels like a dream scene that you wouldn't encounter in real life.<div><br></div><div>這一幅作品是我在他的畫作中最喜歡的一幅，這幅畫的白色柱子就像象棋的棋子，中間分開的小路上有騎士在騎著馬。畫的上方是植物覆蓋。這幅畫感覺就像夢里的場景，現(xiàn)實生活之中不會遇見這些場景。<br></div> <h1><b><font color="#ff8a00">Conclusion:</font></b> <div>indoor painting without figures, we have seen many artists' works. I think in painting, we can observe the small details in the room, and the arrangement of objects can also reflect what we want to express in the picture.Or we can deal with color. We can learn from Matisse's brutalist colors, or we can learn from Felix Vallotton's use of his own style of gray to express the serenity and loneliness of the picture.We can also learn from Jan van Eyck, who set questions in the picture and let the viewer guess that there are many ways to paint indoor paintings. We have many ways to express what the indoor portrait without the figure wants to express.This class let me know how many artists express indoor painting.</div><div><br></div><div>總結：沒有人物的室內繪畫，我們看了很多藝術家的作品，我覺得在繪畫中我們可以觀察室內的小細節(jié)，物體之間的擺放，也能體現(xiàn)畫面中想表達東西。或者我們可以處理顏色，可以學馬蒂斯這野獸派的色彩，也可以學Felix Vallotton用自己風格的灰色色調表達畫面的靜謐、孤獨。也可以學Jan van Eyck在畫面中設下疑問，讓觀看者猜測等我們有很多方法去畫室內繪畫，我們有很多方法去表達沒有人物的室內畫像想表達的東西。這節(jié)課讓我了解了多個藝術家是如何表達室內繪畫的。<br></div></h1> <h1><b><font color="#ff8a00">Week 4 Lecture Paper on s</font></b></h1> <b><font color="#ff8a00">Introduction: The Work of Art as 有窗戶的繪畫作品</font></b> <font color="#ff8a00"><b>Van Eyck brothers</b></font> The van Eyck brothers were the brothers Hubert Van eyck (1370-1426) and Jan Van eyck (1385/90-1441) of the Netherlands in the 14th and 15th centuries.In 1415, The mayor of Ghent, Jodokus Vader, ordered altar-paintings from Hubert van Eyck. He spent ten years painting them, but he died before he could finish them. Later, his brother Jan Van eyck completed them and placed them in The Church of Saint Bevan in Ghent.This is a group of landmark epoxial works, which marked the arrival of a new era and the birth of humanism art, and laid the foundation of The Netherlands Renaissance art.<div><br></div><div>凡·?？诵值苁侵?4世紀到15世紀尼德蘭畫家胡伯特·凡?？?1370—1426年)和揚·凡?？?1385/90—1441年)兄弟。1415年根特市長約多庫斯·威德向胡伯特·凡埃克訂制祭壇畫，他畫了10年，未完成就去逝了，后由弟弟揚·凡?？死^續(xù)完成，安置在根特圣貝文教堂。這是一組具有里程碑意義的劃時代巨作，它標志著一個新時代的到來和人文主義藝術的誕生，并奠定了尼德蘭文藝復興藝術的基礎.<br></div> I found a lot of papal paintings with s or arches, and Then I looked at some of the churches that were decorated with glass.I just think about the arches or the s and what they represent.My own sense is that the decorations look sacred, and I feel like I'm trying to avoid making them look like people, to give them some kind of sacred aura, like the halo on the head of an angel.I don't know if that's the right guess.<div><br></div><div>我發(fā)現(xiàn)好多教廷畫中都有好多帶有窗戶或者拱門，然后我看了一些教堂他們都喜歡用玻璃來裝飾。我就想這些拱門或者窗戶他們的代表著什么。我自己從畫面上看是這些裝飾讓人覺得神圣，我自己感覺是為了避免把他們畫的跟人一樣，給他們披上一些神圣的光環(huán)，就像天使頭頂?shù)墓猸h(huán)。我也不知道是這個猜測是不是正確的。<br></div> I find that the church pays much attention to the design of the light in the interior, they will design the colored glass, the light shines on the above is particularly beautiful.The architects who built the church were very good at using light and color to render the atmosphere of the space. The light shone into the deep place of the church, which was soft and warm, soothing the hearts of people who were suffering.It's like telling someone this is heaven.<div><br></div><div>我發(fā)現(xiàn)教堂很注重光線在室內的設計，他們會在設計彩色的玻璃，光線照在上面特別美麗。他們那些建造教堂的建筑師，極其善于利用光影和色彩渲染空間氛圍，光線照進教堂，深處，柔和而溫暖，撫慰著經(jīng)受苦難的凡人們的心靈。就像告訴別人這是就是天堂。<br></div> <b><font color="#ff8a00">I found</font></b> We took a page from his Arnolfini picture last week, and I found out that he was a very detail-conscious person who could take the mundane and reveal something new through his paintings.Van Eyck was not the inventor of oil painting. Oil paints had been used as early as the 8th century.But he was certainly the first to open people's eyes to the infinite possibilities of painting.When we talked about his painting last week, there were many details and many representative things in his painting, which made people curious about the story behind the painting. I think the success of this painting cannot be achieved without this condition.<div><br></div><div>我們上個星期就學了他的阿爾諾芬尼夫婦像 ，我發(fā)現(xiàn)他是一個很注重細節(jié)的人，他可以把平凡無奇的小事通過他的畫讓我們發(fā)現(xiàn)一些新的東西。凡·艾克并不是油畫的發(fā)明者，早在8世紀就已經(jīng)有人使用了油彩。但他無疑是第一個讓人們看到了油畫無限可能性的畫家。就像我們上周講到他這副畫的時候，他畫中的細節(jié)特別多，代表性的東西也很多，這讓人對這副畫的背后故事特別好奇，我覺得這幅畫的成功離不開這個條件.<br></div> <b><font color="#ff8a00">s in Dutch and Early Master Interiors</font></b><div><b><font color="#ff8a00"><br>荷蘭的窗戶繪畫及早期的室內繪制大師</font></b></div> <font color="#ff8a00"><b>Pieter janssens elinga</b></font><div><font color="#ff8a00"><b><br></b></font></div><div>Pieter Janssens Elinga (1623-1682), a Dutch golden Age painter, was mainly a family interior painter, emphasizing rectangular geometric elements of s, floor tile paintings and other elements, as well as some genre paintings of figures and still life paintings.</div><div><span style="color: rgb(255, 138, 0);"><font color="#272d34"><br></font></span></div><div>彼得·漢森斯·埃林加（pieter janssens elinga，1623-1682），他是荷蘭黃金時代的畫家，主要以家庭內景為主，強調窗戶的長方形幾何元素、地磚畫等元素，以及一些風俗畫人物，還畫靜物畫。<span style="color: rgb(255, 138, 0);"><font color="#272d34"><br></font></span><div><font color="#ff8a00"><b><br></b></font></div><div><font color="#ff8a00"><b><br></b></font></div></div> <div>Look what the maid is doing in the picture above!She put the fruit bowl down on the chair and the cushion was thrown to the floor.She did not even leave her slippers there, so she moved the chair near the , and, in the absence of her master, eagerly began to read.<br></div><div><br></div>看看上面圖畫中這個女仆在干什么！她把水果盤順手放在椅子上，于是椅墊被弄到了地上。她甚至連拖鞋丟在當?shù)匾膊还芰耍瓦@樣，把椅子搬到靠近窗戶的地方，趁主人不在，迫不及待地開始了閱讀。 I found some of his work, the floor and the s are his characteristics.I saw him paint his floor in two squares of black s, and his s in squares, and they echoed each other.There are all the lights he's working with.There are a lot of geometric shapes in the work, and it's a wonderful feeling.<div><br></div><div>我發(fā)現(xiàn)他的一些作品，地板和窗戶都是他的特色。我看他畫他的地板是兩個黑色條框方形組成形狀，窗戶也是一個個方格組成，二者相互呼應。畫面中都有他處理的光線。作品中有很多幾何圖形構成，感覺很奇妙。<br></div> <b><font color="#ff8a00">Johannes Vermeer</font></b> Johannes Vermeer (October 31, 1632 -- December 15, 1675) was born in delft, the Netherlands.<br>His works have transparent colors, rigorous composition and clever use of light and shadow. Most of his subjects are based on the ordinary life of citizens. The whole picture is warm, comfortable and quiet, giving people a solemn feeling, which fully shows the Dutch citizens' preference for clean environment, elegant and comfortable atmosphere.His representative works include the girl with a pearl earring and so on.<br><br>維米爾（Johannes Vermeer，1632年10月31日-1675年12月15日），出生于荷蘭德爾夫特，畫家。<br><br>他的作品有透明的顏色、嚴謹?shù)臉媹D和對光影的巧妙運用，且題材大多取材于市民平常的生活，整個畫面溫馨、舒適、寧靜，給人以莊重的感受，充分表現(xiàn)出了荷蘭市民對潔凈環(huán)境、優(yōu)雅舒適的氣氛的喜好。其代表作有《戴珍珠耳環(huán)的少女》等。 I found him fascinating in the plots of his paintings, and I found him discovering beauty in the ordinary, ordinary scenes of life.But in his paintings, people are moved by simple and sincere lyricism.I found that his paintings usually depicted the life and women around him.I have seen some of his works, many of which have s, and the light in the pictures is a detail that cannot be ignored.When I look at his paintings, I feel very quiet. I think the figures in his paintings are peaceful and beautiful, which makes people want to be still to look at his paintings.<br><br>我發(fā)現(xiàn)他在繪畫的情節(jié)上讓人吸引住，我發(fā)現(xiàn)他是從平凡、普通的生活場面中發(fā)掘美好。但他繪畫中以樸實真摯的抒情打動人。我發(fā)現(xiàn)他的繪畫作品一般畫的是自己身邊的生活和女性。我看了他的一些作品，很多畫都畫有窗子，畫面中光線也是不能忽視的細節(jié)。我看他的畫會覺得很安靜，感覺他畫中的人物是安靜美好的，讓人想靜下來看他的畫。 <h3 style="text-align: center"><i>young woman reading a letter</i></h3> In this painting, the artist depicts a woman who is facing the and reading the letter attentively. She looks serious and graceful, as if she is being attracted by the content of the letter.<br>I like the blue in the painting best. When he painted this work, he changed the light into cold light. The skirt of the reader was changed into blue, which made the whole picture quiet and beautiful.<br><br>在這一幅畫中，畫家描繪了一位正臨窗專心看信的女子，她神情專注、莊重大方，仿佛正在被信中的內容所吸引。<br>我最喜歡畫中的藍色，他繪畫這副作品的時候把光處理成冷光，這個讀信的人的裙子處理成藍色，整個畫面安靜美好。 JOHANNES VERMEER, <i>THE MUSIC LESSON</i>, WOMAN SEATED AT A VIRGINAL , C. 1662-1665, OIL ON CANVAS, 74.6 X 64.1 CM What attracts me most about this painting is the tablecloth with patterns on the front right, which is dazzling, but I think the painter makes the whole picture harmonious. Vermeer deliberately places few things or even no patterns on the wall.<div><br></div><div>這張繪畫作品最讓我吸引的地方右前方花紋的桌布，它是眼花繚亂的，但我覺得畫家讓整個畫面和諧維米爾刻意讓墻壁放置很少的東西甚至沒有任何花紋，空白但不單調蒼白，這種背景留白似乎像是得到了中國古代繪畫的影響。<br></div> Reminds me of the artist <b><font color="#ff8a00">Pieter DE Hooch</font></b>, whose work is similar to Vermeer's<div><br></div><div>Pieter DE Hooch (1629.12.20~1684.03.24) was a Dutch painter of the Golden Age.DE Huguet was a contemporary of Jan Vermeer in the Delft Guild of St. Luke, and his paintings Shared the same themes and styles as Vermeer's.<br></div><div><br></div><div>皮特爾·德·胡格（Pieter de Hooch，1629.12.20~1684.03.24）是荷蘭黃金時代的一位畫家。德·胡格是圣路加代爾夫特公會（Delft Guild of St. Luke）里與畫家簡·弗米爾（Jan Vermeer）同時代的人，他的油畫作品與弗米爾有著相同的主題和風格。<br></div> <b><font color="#ff8a00">I found</font></b><div><font color="#ff8a00"><b><br></b></font>His style is very much like Vermeer's, and most of his work is at the or at the door.He also attached great importance to the problem of light in the picture. I saw that grid s also appeared in his paintings, and the light filtered through the s, giving an aesthetic feeling.But I feel that his paintings are less story-telling than Vermeer's. When I look at Vermeer's paintings, I feel that he is telling a story. He has many details that make us want to know the story of the hero in the painting.</div><div><br></div><div>我的發(fā)現(xiàn)<br><br>他的風格很像維米爾，他的大多作品也是在窗邊或者門口。他也很重視畫面中光線的問題，我看他的繪畫也出現(xiàn)了網(wǎng)格的窗，光線從窗戶透過去，一種唯美的感覺。但我感覺，他的繪畫比維米爾少了故事性，我看維米爾的畫，感覺他在訴說故事，他有很多的細節(jié)，讓我們想知道繪畫的主人公的故事，但我看他的繪畫我感覺就像照相機，沒有唯美、沒有訴說著故事。<br></div> This is one of my favorite paintings. I like this painting to look inside the door from the perspective of the door. It feels like peeping.There are two protagonists. The woman is sitting by the , and the man's hand is on the bird cage.The line of sight is extended, the door in the distance still gives out a little light.<div><br></div><div>這是我比較喜歡的一幅畫，我喜歡這幅畫是從門的視角看門里面，感覺給人的感覺像在偷窺。畫里有兩位主人公，女的坐在窗子邊，男的手放在鳥籠上面。視線往前延申，遠處的門還透出一點光。<br></div> <b><font color="#ff8a00">REFLECTIVE TASK 1</font></b><div><b><font color="#ff8a00"><br></font></b></div><div>Pick one work mentioned so far in the lecture. Explain how the device of framing through s or doors adds meaning and compositional value to the painting.<b><font color="#ff8a00"><br></font></b></div> <i>GIRL READING A LETTER AT AN OPEN </i>, JOHANNES VERMEER, 1657- 59, OIL ON CANVAS, 83 CM X 64.5 CM BELOW: LABORATORY TESTS REVEAL THE ‘MISSING’ CUPID I think this painting is very wonderful, like we look out of the to see the girl standing by the reading the letter, this painting has a curtain stick above, next to the green curtain.It's like when we look out of the at the girl in the .On the left side of the painting is a with an open door, which opens into the room, a detail that on the one hand reflects the view of the room on the other hand allows us to move forward.It can also break the closed environment.I like the green curtain the most in this painting. Its existence, I think, neutralized the tablecloth with many colors on the table, and also explained the existence of the wind.Make the picture harmonious and not complicated.<div><br></div><div>這幅畫我覺得很奇妙，像我們從窗外看站在窗邊的少女讀信，這個畫上方有個窗簾棍，旁邊掛著綠色的窗簾。這個就像我們在窗子外面看窗子里面的少女。這副畫的左邊有一扇開著門的窗戶，他是向房間里面打開的，這個細節(jié)一方面可憐在窗戶的玻璃反射房間里的景象另一方面可以讓我們視線往前移動。也可以打破封閉的環(huán)境。這幅畫我最喜歡這綠色的窗簾，它的存在我感覺是中和桌子上花色多的桌布，也交代了風的存在。使畫面和諧不復雜繁多。<br></div> <h1><b><font color="#ff8a00">s in Impressionist Interiors</font></b><div><b><font color="#ff8a00"><br></font></b></div><div><b><font color="#ff8a00">印象派畫家的室內窗戶</font></b></div></h1> <b><font color="#ff8a00">卡斯帕·弗里德里希<br>Caspar David Friedrich</font></b> Throughout his life, he presented landscape paintings in the way of romance, emotion and spiritual pursuit.His mother died when he was seven, and when he was thirteen, his brother saved him from drowning, only to kill him.These sorrowful experiences dealt a heavier blow to his already sensitive nature, and death, sorrow, and nature became the subjects of his fascination ever since.He often strolls along the wooded coast, exploring the themes of the natural landscape.He had an extremely keen eye and was good at expressing the minute details of light and colour.<div><br></div><div>他一生都以浪漫，情懷、靈性追求的方式來表現(xiàn)風景畫。他的母親在他七歲的時候去世，而十三歲時，他的哥哥把他從溺水中救出，反倒送掉了自己的命。這些悲痛的經(jīng)驗為他本來已經(jīng)敏感的天性帶來更沉重的打擊，自此，死亡、憂愁、自然等題材便成為他所迷戀的主題。他常常漫步于山林海濱，探索自然風景的主題。他有極端敏銳的觀察力，又擅于表達光線與色彩的精微細節(jié)。<br></div> In the painting, a young woman with her back to the audience stands by the and gazes out of the . By using s, the most popular material of romanticism, the artist combines inside and outside, as well as far and near.What this painting wants to show is a longing for the infinite vast nature outside the , and also a kind of prying into the lonely inner soul。<div><br></div><div>畫中，一位背對觀眾的年輕女子臨窗而立，凝視著窗外，畫家通過對窗戶這一浪漫主義最流行的素材的利用，將內外、遠近融為一體。此畫所要表現(xiàn)的是對窗外無限廣闊的大自然的一種渴望，同時也是對孤獨的內在靈魂的一種窺探<br></div> We can see her looking out the , and we wonder what's out there?We can see that the is small, as if very depressed, the above the dividing line is like a cross, it is like the picture of the Japanese repressed something.When I look at his painting, I feel sad, I feel that this woman is yearning for something, but she knows that it is very difficult.Two large marble slabs closed around her.<div><br></div><div>我們可以看到她看的窗外，我們會想窗外有什么呢？我們可看到窗戶是小的，就像很壓抑，窗戶上方的分割線就像十字架，它就像讓畫面的女主共壓抑著什么。我看他的畫我感覺是帶著憂思，感覺這個女的在向往著什么東西，但她有知道這是很難的。她身旁的兩個很大的大理石板困著她。<br></div> <b><font color="#ff8a00">Mary Cassatt</font></b><div><br></div><div>Mary Cassatt (1844-1926) was one of the few American artists active in the French art world from the end of the 19th century to the beginning of the 20th century.She is a woman unbound by worldly opinions, strong-willed and devoted to her beloved art career.At the age of twenty, Casarte fell out with his father by declaring that he wanted to be a painter.At her insistence, her father finally agreed to enroll her in the Pennsylvania Academy of Fine Arts.This led her to painting.<br></div><div><br></div><div>瑪麗·卡薩特（Mary Cassatt，1844～1926）是19世紀末至20世紀初期，極少數(shù)能在法國藝術界活躍的美國藝術家之一。她是一位不受世俗觀念拘束、意志堅強、一心投入自己熱愛的藝術事業(yè)的女性?？ㄋ_特出身于美國費城上等人家，二十歲時宣稱將來要做畫家，從而與父親發(fā)生沖突。在她的堅持下，父親最終首肯，讓她就讀賓州美術學院。她由此走上繪畫之路。<br></div> In addition to capturing life in the family room and the opera house, Ms. Cassatt looked to the figures in the parks and gardens of Paris, one of the few public Spaces where respectable women could move freely in society<div><br></div><div>卡薩特除了捕捉家庭室內和歌劇院的生活外，還將目光投向巴黎公園和花園里的人物，這是少數(shù)幾個值得尊敬的女性可以在社會上自由活動的公共空間之一<br></div> <div>Her art typically portrays the home environment in which she herself (as a respectable woman) is confined rather than the more public Spaces in which her male peers are free to live.Her material is occasionally considered typically "female," yet most critics realize that she brings considerable technical skill and psychological insight to her subjects.<br></div><div><br></div>薩特的藝術典型地描繪了家庭環(huán)境，她自己(作為一個受人尊敬的女性)被限制在其中的世界，而不是她的男性同齡人可以自由居住的更多公共空間。她的材料偶爾被認為是典型的“女性”，然而大多數(shù)評論家意識到她給她的主題帶來了相當多的技術技能和心理洞察力。 This is my favorite painting among her works.I like the blue color in the picture, the blue sofa is arranged in a circle, which is similar to the blue color vermeer often appears in the picture.This blue, kind of like the blue color.Looking closely at Vermeer's paintings, it is not difficult to see that his use of color is very distinctive. He likes to use mild blue and yellow as the keynote.From "<i>The Girl with a Pearl Earring</i>" to "<i>The Woman who Read Letters</i>" all embody this characteristic<div><br></div><div>這是在她的作品中，我最喜歡的一副繪畫。我很喜歡畫面中的藍色調，藍色的沙發(fā)擺成一圈，這種藍色有點像維米爾常在畫面出現(xiàn)的藍色。這種藍色，有點像群青的顏色。仔細觀察維米爾的畫作，不難看出他對顏色的運用有非常顯著的特點，他喜歡以溫和的藍色和黃色作為基調。從《戴珍珠耳環(huán)的少女》到《讀信的女人》無一不體現(xiàn)了這一特點<br></div> <font color="#ff8a00"><b>GUSTAVE CAILLEBOTTE</b></font> <div>GUSTAVE CAILLEBOTTE was a French Impressionist painter. He had an extraordinary love for painting. Except for the first French Impressionist exhibition which he failed to attend, he participated in all subsequent Impressionist exhibitions and sponsored them successfully."Laying the Wooden Floor" was one of the paintings he exhibited at his first Impressionist exhibition.<br></div><div><br></div>古斯塔夫·卡里伯特是法國印象派畫家，他對繪畫有著超越常人的熱愛，除了第一屆法國印象派畫展未能出席，他參加了接下來的所有印象派畫展，并且為印象派畫展順利舉辦慷慨贊助?！朵伳镜匕濉肪褪撬谝淮螀⒓佑∠笈僧嬚箷r的參展作品。 The subjects of Kaliberte's paintings are all taken from real life scenes, such as people facing s, people rowing boats, people diving, people on Bridges and so on. He also painted many urban landscapes<div><br></div><div>卡里伯特的畫作題材全部取自現(xiàn)實的生活場景，比如臨窗的人、賽艇的人、跳水的人、橋上的人等等，還畫了許多的都市風景<br></div> He depicts a number of figures looking out of the s of interior houses or on the streets of Paris, such as "Inside", a woman standing at the with her back to the audience, and a man on the right side sitting in a chair reading a newspaper.This is a straightforward urban landscape<div><br></div><div>他描繪了許多從室內窗邊眺望窗外或巴黎街景的人物，例如《室內》，站在窗邊的女性，背向著觀眾，右邊側面男性坐在椅子上看報紙。這是一幅率直的都市風景<br></div> The French impressionist painter Gustave Caillebotte painted many figures looking from the s of Paris and the streets of Paris, such as "The Rainy Streets of Paris" and "The Interior."He blends the bright light and rich colors of nature into his canvas, giving the viewer the beauty of light and color.<div><br></div><div>法國印象派畫家古斯塔夫·卡耶博特（Gustave Caillebotte）筆下描繪了許多在巴黎窗邊眺望的人物背影和巴黎街景，如《下雨的巴黎街道》、《室內》等著作。他將大自然中的明麗光感和豐富色彩融入畫布，給觀者以光色之美。<br></div> These two paintings look down on the street from a or balcony.These two pictures depict the street scene in Paris, France at that time. The one on the left shows the painter extending our sight along the house through perspective, and finally disappears around the corner.This picture shows the rain, in the whole tone is orange yellow.The work on the right is horizontal perspective, straight ahead in color, depicting a thin layer of fog in the early morning.The whole tone is blue and purple.<div><br></div><div>這兩幅繪畫作品是從窗戶或者陽臺往下的俯視看街景。這兩幅圖描繪的法國巴黎當時的街景，左邊一幅圖，畫家通過透視，把我們的視線隨著房子往前延申，最后轉彎消失。這幅圖是表現(xiàn)的是下雨中，在整個色調中是橙黃為主。右邊的作品就是水平的透視，一直往前顏色，描繪的應該是清晨，空中一層薄薄的霧氣。整個色調為藍紫調。<br></div> I like this piece of work. I think the heroine in the picture is very much like her normal self. When facing the clothes we like, we like to try them out.In the picture, I especially like the part of the mirror. The tilted mirror shines on the woman's body, and Chinese porcelain is placed under the mirror. The whole color is pink and purple, which is very warm and beautiful.<div><br></div><div>我比較喜歡這張作品，我覺得畫面中的女主人公很像平常的自己，面對喜歡的衣服，會喜歡去嘗試，我們會介意自己的體型，就會像畫中的女主人公吸氣讓自己穿上去。畫面中我特別喜歡鏡子那一部分，傾斜的鏡子照在女的身上，鏡子下方擺放著中國瓷器，整個色調是粉紫色的，特別溫馨唯美。<br></div> <b><font color="#ff8a00">Related Artist-Balthus</font></b> BalthasarKlossowski DE Rola (1908-2001) BalthasarKlossowski, A Polish-Born French painter formerly known as BalthasarKlossowski, was once described by Picasso as "the greatest painter of the twentieth century". Balthas was best known for painting adolescent girls and cats.<div><br></div><div>巴爾蒂斯（1908-2001年），波蘭裔法國畫家，原名巴爾塔扎.克洛索夫斯基.德洛拉（BalthasarKlossowski de Rola）,巴爾蒂斯是他的藝名，他曾被畢加索譽為“二十世紀最偉大的畫家”，他最擅長畫青春期的少女和貓，也有人說他有戀童癖。<br></div> To be honest, I don't like Balthus (February 29, 1908.-- February 18, 2001), a painter I strongly resist because I often feel a suffocating sublime in the complexity he and his paintings embody.This sublime is not the kind of divine oppression one feels when looking up at a bell tower, but rather the trust and conferment of the painter's spiritual exchange with the viewer.I may have experienced a mental discomfort when I first encountered Baltis's paintings, because the first thing we see in them is an "eerie stillness."His indoor portraits are steady and hazy, their bodies contorted, their expressions slightly hostile.It's uncomfortable to look at。<div><br></div><div>說實話，我不喜歡巴爾蒂斯（Balthus，1908.2.29-2001.2.18）是我非常抗拒的畫家，我抗拒他是因為他本人和他的畫中所體現(xiàn)出來的復雜性時常令我感到一種窒息的崇高。這種崇高不是那種人們仰望一座鐘樓時所產(chǎn)生的神圣的壓迫感，而是一種畫家與觀賞者進行精神交流的信任和授予。我第一次接觸到巴爾蒂斯的畫時可能會感受到一種精神上的不適，因為從他的畫中我們首先看到的是一種“怪異的靜止”。他的室內人像，光線穩(wěn)定而朦朧，人物的軀體扭曲，表情中帶有些許敵意。讓人看著很不舒服。<br></div> I am very curious about this painting.In the painting, the naked woman is lying on a chair. The eyes in the curtain are not friendly and the expression seems to be a little dirty.The sun shone into the room through the , and I felt a cat peeping from the table near the .The painting feels like a nightmare.I think a naked woman is the embodiment of beauty, but the dwarf looks at him like a pervert.Although the sun is very bright, but it does not make me feel warm, more let me feel is to expose ugly things in the world, people feel afraid.The cat on the table keeps staring at the naked woman, like a peeping Toms you can't hide from in the dark. It's scary.<div><br></div><div>我對這幅畫非常好奇。在畫中，裸體的女人躺在椅子上，窗簾的眼神顯得很不友善，表情似乎有些下流。太陽從窗戶照進屋子，我感到有只貓在靠近窗戶的桌子上偷看。這幅畫感覺像一場噩夢。我覺得裸女是美的化身，但侏儒看他就像個變態(tài)。雖然太陽很明亮，但它并沒有讓我感到溫暖，更讓我感覺是把丑惡的東西公布于世，讓人覺得害怕。桌子上的貓一直在盯著裸女，就像黑夜中你躲也躲不掉偷窺者，讓人害怕。<br></div> <b><font color="#ff8a00">REFLECTIVE</font></b><div><b><font color="#ff8a00"><br></font></b></div><div>Return to the slide which compares Young Girl at a by Berthe Morisot and Young Man at his by Gustave Caillebotte. ? In your own words explain how the functions as a threshold between the interior and exterior world in these images.What are the differences between them?<b><font color="#ff8a00"><br></font></b></div><div><br></div><div>The is the medium that connects the outside and the inside. We can see that the painting depicts the scene inside and outside the , in which the characters link emotions.The can be used as a symbol of freedom or imprisonment, and we can better highlight the characters' thoughts and feelings through the medium of the .For example, when we look into the distance from the or read a book by the , we see the activities of these characters. A is the practice of opening the and inside the , rather than a closed environment, which allows us to all our energy on the characters.Having a or balcony can ease the relationship between the inside and the outside, allowing us not only to on the people, but also to see the scenery around us, which sometimes symbolizes many things.<br></div><div><br></div><div>窗戶是連接外部和內部的媒介，我們可以看出畫中的描繪了窗里窗外的景象，人物在其中鏈接情感。窗戶可以當作自由或者囚禁的象征，我們可以通過這個窗戶的媒介可以更好的烘托人物的思想感情。比如在窗戶眺望遠方，或者在窗邊讀書等，我們在看到這些人物的活動是，一扇窗是打開窗外與窗內的練習，并非是一個 封閉的環(huán)境，讓我們全部精力集中在人物身上。有個窗戶或者陽臺，能夠疏通室內室外的關系，讓我們不僅僅關注到人，還會看到周圍的景物，這些景物有時象征很多東西。<br></div> <h1><b><font color="#ff8a00">s in Post-war American Interiors</font></b></h1><h1><b><font color="#ff8a00"><br></font></b></h1><h1><b><font color="#ff8a00">戰(zhàn)后美國室內的窗戶繪畫</font></b></h1> <b><font color="#ff8a00">Edward Hopper</font></b><div><b><font color="#ff8a00"><br></font></b></div><div>Edward Hopper;July 22, 1882 -- May 15, 1967) was an American master painter best known for his portraits of lonely contemporary Life in the United States.As a promoter of urban realistic painting style, almost all of his students later became important painters in America and were called by critics as the Ashcan School.After Edward completed his early education, he went to Europe for three times, mainly to study the emerging European painting style. However, he was unique in abandoning the abstract trend of cubism at that time.And the Idealism that led to realistic painting can be seen from his early painting.<b><font color="#ff8a00"><br></font></b></div><div><br></div><div>愛德華·霍普（Edward Hopper；1882年7月22日－1967年5月15日）是一位美國繪畫大師，以描繪寂寥的美國當代生活風景聞名。屬于都會寫實畫風的推廣者，他的門生日後幾乎都成為了美國重要畫家，并被評論家稱為垃圾桶畫派（Ashcan School）。在愛德華完成早年教育後，他曾經(jīng)前往歐洲三次，主要在研究歐洲新興的畫風，但他獨樹一幟的舍棄了當時立體主義畫派的抽象潮流；而走向寫實畫派中的理想主義（idealism）這一點可從他早期畫作中看出。<br></div> It was created by a young man Hopper, 27 years old, and I like it better, to do the first one.<br>The half-naked girl leans against the bed, and the light from the casts a neat rectangle.The girl's fair skin, white sheets, dark yellow walls, brown oak bed and light yellow soft light will be the whole picture together.The look on her head seemed to sink into an emotion that separated her from the world around her.<div><br></div><div>由27歲的青年Hopper創(chuàng)作，我比較喜歡，拿來做第一幅講。<br><br> 半裸的女孩倚靠在床邊，光從窗里投射下來，形成一個規(guī)整的矩形。女孩白皙的肌膚，白色的床單，暗黃色的墻面，棕色的橡木床以及鵝黃色的柔光將整幅畫面“攪合”在一起。她低頭的表情，似乎陷入在一種情緒之中，使她與周圍的世界都隔離開了。<br></div><div><br></div><div>From a "prying" Angle, look at the girl from behind the door.But we do not feel half of the feeling of lust, only one other emotion, full of this half warm, half dark space -- lonely, unable to understand, unable to touch the loneliness.<br></div><div><br></div><div>處于一個“窺探”的角度，從門后看著少女。但我們，卻感受不到半分情欲的感覺，只有一種別的情緒，充斥著這個一半溫暖，一半陰暗的空間——孤獨，無法被理解，無法被觸碰的孤獨。<br></div> Edward Hopper, Nighthawks, 1942 The painting depicts an all-night restaurant where three customers gather, all lost in their thoughts.It was yellow light, yellow walls, blood-red tables, four people sitting there, but they didn't feel like they were communicating.This painting reminds me of Van Gogh's The Night Cafe in The Place Lamartine in Arles.There is a disturbing contrast between saturated colors and dark shadows.There is no one walking in the street, it looks like a busy street, but the silence is not good, it is quiet and terrible.It feels like something is watching the city, the people.It looks lonely, but it's unsettling, and it feels like the scene is going to change the next second.<div><br></div><div>這幅畫描繪的是一家通宵餐廳，三個顧客都沉浸在自己的思想中，聚集在一起。室內是散發(fā)著黃色的燈光，黃色的墻壁，血紅的桌子，四個人坐在那里，但感覺他們沒有一點交流。這幅畫讓我想起了梵高的The Night Cafe in the Place Lamartine in Arles。飽和的色彩和黑暗的陰影之間呈現(xiàn)出令人不安的對比。街上沒有一個人行走，看似繁華的街道，但寂靜的不行，就安靜的可怕。感覺有點東西在監(jiān)視著畫中的城市、人們。這幅畫看上去孤獨寂寞，但又讓人看著很不安，感覺下一秒畫中的場景都會發(fā)生變化。<br></div> <div>Loneliness is an inevitable phenomenon in modern life, especially for people living in big cities.It's also why we're all addicted to social media, a virtual facade to mask our anxiety, and Posting funny little jokes on Twitter as another way to connect socially with strangers.<br>In Hopper's paintings, there is an unabashedly lonely and ominous feeling,<br></div><div><br></div>孤獨是當代生活中的一種不可避免的現(xiàn)象，特別是對于生活在大城市中的人來說。這也是我們都會沉迷社交媒體的原因，它是一個用來掩飾內心焦慮的虛擬假象，而在Twitter上發(fā)布各種風趣的小段子也是另一種與陌生人建立社交聯(lián)系的方式。<br><br><br><br>在Hopper的畫作中可以感受到一種不加掩飾的孤獨感和不詳感， <b><font color="#ff8a00">I found</font></b><div><b><font color="#ff8a00"><br></font></b></div><div><br>No matter where these characters, or how many of them, appear in real life, it seems that there will always be a thick layer of solitude in Hopper.Hooper painted America, but it was as cold as Northern Europe, and even the seemingly bright sun didn't seem to warm it.In the light created by Hopper, the characters we see are like still life. The noise is still here, time is frozen at this moment, and everyone begins to enter a state of almost "dullness" : expressionless, as if lost in thought, but not knowing what to think, like empty space.We don't know what the mood of these people is in the painting, but through the atmosphere created by Hopper's viewing, we can imagine that these characters may be sad and lonely at this moment, full of loss but not willing to vent this loss.<br>In real life, we do experience situations like the one Hooper describes: I don't want to think, talk, or be disturbed, just to be completely in a trance.Here we encounter silence, a gray and gloomy stagflation in which everything from the environment to the characters is immersed.<b><font color="#ff8a00"><br></font></b></div><div><br></div><div><br>無論這些人物，有幾個人，出現(xiàn)在現(xiàn)實生活中的什么地方，在霍珀這里，好像永遠都會有一層濃濃的寂寥從畫面中的場景彌散而出?；翮戤嫷氖敲绹?，卻能流露出北歐一般的清冷，就連那看似明媚的陽光，好像也溫暖不起來。在霍珀制造的光線下，我們看到的人物就如靜物一般，喧囂在這里靜止，時間在此刻凝固，每個人都開始進入一種近乎“呆滯”的狀態(tài)：面無表情，仿佛陷入沉思，但又不知道在想些什么，就像放空。我們不知道這些人的心情在畫中是怎樣的，但通過霍珀用觀影渲染出的氛圍，可以想象到此刻這些人物或許是悲傷的、寂寞的，充滿失落卻又不屑于宣泄這份失落。<br>在現(xiàn)實生活中，我們也的確會遇到像霍珀所描繪的這種狀態(tài)：我什么都不愿去想、不想說話、不想被人打擾，只想徹底地發(fā)呆。在這里，我們遇到沉默，一種從環(huán)境到人物都沉溺其中的灰色而陰郁的感覺。<br></div> <b><font color="#ff8a00">RICHARD DIEBENKORN</font></b> Richard Diebenkorn(1922-1993) was an American contemporary artist.His early works are mainly abstract expressionism and bay Area painting style (1950-1960s). His later paintings, for example, the most famous Ocean Park Paintings, represent the artist's unique artistic achievements.<div><br></div><div>理查德·迪本科恩Richard Diebenkorn(1922-1993)是一位美國當代藝術家。他的早期作品主要是抽象表現(xiàn)主義和美國灣區(qū)畫派風格（1950－1960年代），后期的繪畫，例如最著名的“海洋公園系列（Ocean Park paintings）”則代表了藝術家獨特的藝術成就。<br></div> I found that most of his works were blue, with several color blocks and a thin layer of paint.Many of his paintings contain blue, which can be the color of the sky, shadows, desks and chairs in his paintings.I think blue is a wonderful color, it is like a treasure, when we think there is something missing in the picture, then we can consider the addition of blue.<div><br></div><div>我發(fā)現(xiàn)他的大多數(shù)作品都帶有藍色，作品中分為幾個色塊，薄薄的涂上一層。他的繪畫作品中很多都帶有藍色，藍色在他的畫面中可以是天空的顏色，可以是陰影、桌椅等。我覺得藍色是一個很美妙的顏色，它就像一個寶藏一樣，當我們覺得畫面中缺少一些東西，這時我們可以考慮一下藍色的加入。<br></div> I see that most of his paintings are composed of geometric figures, and I see that his interior paintings with s pay much attention to the composition, perspective and light of geometric figures.When we look at his paintings of s, I can see that the perspective between the s and the ground is very large in his paintings.But I think there is no gap between the inside and outside of the through this perspective.In these paintings, there is no glass between the and the indoor and outdoor, which makes the indoor and outdoor feel connected.In his paintings, light is an indispensable element.When we look at his paintings, the light from outside the is projected through the into the , and we see the shapes, the colors, they are wonderful.<div><br></div><div>我看他的繪畫大多數(shù)是用幾何圖形組成的繪畫，我看他的畫有窗戶的室內繪畫大致很注重幾何圖形的構成、透視、光線。我們看他畫關于窗戶的畫時，我能發(fā)現(xiàn)他的繪畫中窗戶與地面的透視是很大的。但是我認為通過這個透視讓窗內與窗外的環(huán)境感覺沒有隔閡。他的這些畫中窗與室內室外是沒有玻璃等來阻隔的，感覺室內室外是連著的?？此倪@些繪畫中，光線是在繪畫中不可缺少的元素。我們看他的繪畫作品光線從窗外通過窗戶投射到窗內，我們看到他們的形狀、顏色，都是很奇妙的存在。<br></div> This a favorite I like the most in his paintings of a painting, where attracts me is it a large area of blue color, this painting represents the from the to see out the , the is the sea beach and grass, the painting to attract my place is the decorative pattern on the wall, he gave me the feeling of like Matisse's painting works of red house adornment grain, adornment effect of the picture like Matisse, but I think Matisse's painting is no perspective, but there is a big DIEBENKORN perspective effect.I prefer DIEBENKORN to DIEBENKORN. Maybe he used my favorite blue color, or this painting makes me look quiet, while Matisse's painting is restless.<div><br></div><div>這一張時我在他的繪畫作品中最喜歡的一幅作品，吸引我的地方是它大面積的藍色色塊，這幅畫描繪的是從窗內看窗外，窗外是海灘海洋和草地，這幅畫吸引我的地方是墻上的花紋，他給我的感覺像馬蒂斯的一幅繪畫作品紅房子的裝飾紋一樣，畫面的裝飾效果很像馬蒂斯，但我覺得馬蒂斯的畫是沒有透視的，但DIEBENKORN是有很大的透視效果。二者相比之下我更喜歡DIEBENKORN，可能他用了我喜歡的藍色、或者這幅畫讓我看著是安靜的，馬蒂斯的畫是躁動的。<br></div> <font color="#ff8a00">If you can, do some independent research.Try and find 3 examples of artworks which feature s that you like and try to write a brief analysis of them, explaining how the artists uses the symbol and form of the in their work.</font> <h1><b style="color: rgb(255, 138, 0);">Isa Genzken</b></h1><p><br></p> <h3 style="text-align: center">Isa Genzken <i></i></h3> <h1><b><font color="#ff8a00">Toba Khedoori</font></b><br><br><br><br>Born in 1964 in Sydney<br><br>Khedoori received her M.F.A. from the University of California, Los Angeles, in 1994. <br><br><br><br>Toba Khedoori’s works depict objects and everyday environments divorced from any background. Whether drawing and painting onto thin sheets of paper and stapling these directly onto the wall, or using canvas as physical support, her delicately shaded, often large-scale compositions are poised between ephemerality and monumentality. Doors and s, chairs and stairs, fences and bricks, train compartments and fireplaces appear at once familiar and unrecognizable, and their “neither-here-nor-there” presence seems to become a space for meditation.</h1> <h1><b><font color="#ff8a00">Songdong</font></b></h1> 左：Doing Nothing Doing Debris 002, 2014, installation<br><br>右：Doing Nothing Doing Fragment 002, 2014, installation My city (details), 2014, installation<br><br>宋冬新作2014年在巴西圣保羅展出 Photo: Edouard Fraipont <h1><br></h1> <h1><b><font color="#ff8a00">Week 4 Practical Lesson‘A Room with a View</font></b></h1> <b><font color="#ff8a00">Task 1: 20 mins</font></b> <b><font color="#ff8a00">Task 2: 10 mins</font></b> s in my community were all equipped with security nets. I thought we would lock ourselves in a cage as birds for our own safety.When I look out of the , the landscape is lined with iron columns. Although it is safe, I feel this kind of security as if it is not free. <font color="#ff8a00">Task 3: 20 mins</font> <b><font color="#ff8a00">Task 4: 1 hour +</font></b> <b><font color="#ff8a00">Homework:</font></b><br><br>For this homework, I want to do it in a different way. I want to do it from the point of view of a door.The artist Vilhelm Hammersh I, whom we learned last week, has many paintings with a door perspective, so I want to try this new approach this time.<br><br>這次家庭作業(yè)我想用另一種表現(xiàn)形式，我想用門的視角來表達。我們上個星期學的Vilhelm Hammersh?i這位藝術家，他有好多作品中有門的視角的繪畫，所以這次我也想嘗試一下這個新的手段。 <div><br></div> Spend some time reflecting on what you have done in this practical class. Consider;<div><br><div>花點時間反思一下你們在實踐課上做了什么</div></div><div><br></div><div> how the in traditional painting has been used as a compositional tool to achieve perspective and the illusion of space and distance.<br></div> How have these exercises explored the theme of the A Room with a View, and the brief of Views of Home. <div><br></div><div>這些練習是如何探索一個有風景的房間的主題，以及家的風景。</div><div><br></div><div>In this exercise, we divided them into different Spaces with different sizes and shapes through the perspective of scenes inside and outside the , and filled them with different materials previously drawn.This exercise USES perspective to divide shapes, like putting two unrelated things together.<br></div><div><br></div><div>這次練習我們通過窗內窗外景物的透視，把他們劃分為大小形狀不一的空間，在里面填充不同的之前畫到的素材。這次練習用透視來劃分形狀，就像把兩個不相關聯(lián)的東西組合起來。<br></div><div><br></div> How could you use this weeks theme to communicate meaning and ideas of you<div><br></div><div>你怎么用這周的主題，來傳達你的意義和想法呢？</div><div><br></div><div>For this exercise, use the to divide the shapes and fill in the material.In this exercise, I learned that we can not only draw what we see, just as we look from the to the , we can fill in irrelevant things in some way, like different effects.<br></div><div><br></div><div>通過這次練習，通過窗戶來劃分不同的形狀，填充素材。這次練習我學到了可以不僅僅的畫我們所看到的東西，就像我們看窗內到窗外的風景，我們可以通過一些方法，把不相關連的東西填充進去，就像不同的效果。<br></div><div><br></div><div><br></div> What you have found interesting?<div><br></div><div>你發(fā)生了什么有趣的事</div><div><br></div><div>When I went to the second part of the practice class, the s in my community were all equipped with security nets. I thought we would lock ourselves in a cage as birds for our own safety.When I look out of the , the landscape is lined with iron columns. Although it is safe, I feel this kind of security as if it is not free.<br></div><div><br></div><div>當我進行了實踐課的第二部分的時候，我發(fā)現(xiàn)我住的小區(qū)窗戶都裝著防盜網(wǎng)，我覺得我們?yōu)榱俗陨淼陌踩?，把自己當成鳥在鳥籠關起來。當我看窗外的風景是一排排的鐵柱，雖然安全但感覺這種安全就好像不自由。<br></div> Have you got any ideas from this class that you would like to explore further?<div><br></div><div> 你從這門課上有什么想法想進一步探討嗎？</div><div><br></div><div>For this exercise, use the to divide the shapes and fill in the material.It gave me the idea that we can use the perspective of objects from the outside to the inside of the door to divide different shapes and fill different materials.<br><br>通過這次練習，通過窗戶來劃分不同的形狀，填充素材。給了我想法是可以用門從門外到門里，之間物體的透視劃分不同的形狀，也可以填充不同的素材。<br></div>