Interior in Strandgade, Sunlight on the Floor 象征主义 威尔汉姆 · 哈默修伊 世界名画电子版 网盘下载【无水印高清图】

《Interior in Strandgade, Sunlight on the Floor》象征主义 威尔汉姆 · 哈默修伊 世界名画电子版 网盘下载【无水印高清图】

Interior in Strandgade, Sunlight on the Floor  象征主义 威尔汉姆 · 哈默修伊 世界名画电子版 网盘下载【无水印高清图】-高斯课堂不挂科网(gaosiketang.com)

图片尺寸:23235 × 20366 像素
作品名称:Interior in Strandgade, Sunlight on the Floor
中文名称:Strandgade的室内,阳光照在地板上
创作者:Vilhelm Hammershoi
创作年代:1901
风格:印象派
体裁:interior
材质:布面油画
现位于:National Gallery of Denmark (Statens Museum for Kunst), Copenhagen, Denmark
实际尺寸:46.5 x 52 cm
版权信息: Public Domain(公有领域)

无水印高清图下载

图片尺寸:23235 × 20366 像素
图片大小:170 MB
图片格式:JPG
下载方式:百度网盘

作品介绍

机器翻译:

Vilhelm Hammershøi是一位真正的神秘和大气空间的大师。他描绘自己在哥本哈根Strandgade 30号的客厅的室内场景特别有名,使他成为国际上最著名的丹麦艺术家。

Vilhelm Hammershøi在哥本哈根Strandgade 30号自己客厅的室内场景,当然值得在SMK的十大亮点中占有一席之地,SMK拥有他在丹麦的最大作品收藏。

他的风格以其纯粹的感性和精致、简单的色彩使用,对丹麦和外国观众都有着强烈的吸引力。然而,国际观察家经常从他的画作中读出一种更为忧郁的情绪:当考虑到北欧作家如奥古斯特林堡和亨利克-易卜生所代表的传统时,画作中安静、诗意的一面就会有一种忧郁的感觉。

Hammershøi的调色板最常包括黑色、白色、灰色和棕色,但这些颜色可以包括无数的色调,而且也可能混合其他颜色。在2012年的一次展览中,当《Interior in Strandgade, Sunlight on the Floor》被清洗时,保护者在画中发现了40多种不同的白色。

在他自己的时代,许多人并不完全理解他的色彩方案的细微差别和简单性。即使是为夏洛腾堡的年度评比展览挑选作品的展览委员会也很难看到Hammerhøi的品质,并拒绝在1888年展出他的作品。Vilhelm Hammershøi在《Hver 8》杂志的采访中非常直白地讲述了他的用色方式。1907年的一天。

老实说,我不知道为什么我只用一些柔和的颜色。在这个问题上,我不可能说什么。我觉得这很自然。我当然认为,从纯粹的色彩学角度看,一幅画的色彩越少,效果越好。

为想象力留出空间
Hammershøi的室内绘画作品中,大约有66幅是以他在1898年至1908年居住的Strandgade 30号公寓为背景。这几乎相当于他在这一时期总产量的一半。
在许多情况下,每幅画的主题都是一样的,通过对室内、光线或画面中的人物的微小转变,引入无限的变化。画面从来都不是对现实的完全准确的表现;例如,门把手可能被省略了,有几个地方仍然是空的。

这就是这些图像如此引人注目的原因之一。另一个原因是Hammershøi有能力为想象力留出空间,吸引我们的感官,使我们几乎可以感受到光和热。然而,他对另一种绘画风格的坚持也使人们对他的艺术感到不安。

他的画是相当梦幻的,所以你多少会被留在黑暗中。你会变得不确定。我想,在他那个时代,许多人都对此有些挣扎。他们习惯于一些更有控制力和更清晰的东西,如Hammershøi的老师Frederik Vermehren的画作。他们也习惯于在画面上有一些小的叙事,他们不明白这种叙事去了哪里,”艺术教育家安妮特-罗森沃尔德-赫维德说。

忙碌的日常生活中的美
多年来,诸如丹麦导演卡尔-德雷尔(Carl Th. 德雷尔等导演和许多艺术家都受到了Hammershøi的空间、照明和情绪的启发。今天,我们不再为他的主题感到不安;相反,现在许多人在看他的作品时感到一种平静的安宁感。

我们中的许多人每天都过着紧张的生活,需要处理大量的信息。看Hammershøi的作品可以让你直接放慢脚步,感受世界的美丽。总有一些东西让你回味。我自己在这些图片上工作了很多年,我有时认为没有什么可以得到的了。但似乎总是有的。

原文:

Vilhelm Hammershøi was a true master of enigmatic and atmospheric spaces. His interior scenes depicting his own living room in Strandgade 30 in Copenhagen are particularly famous, making him the best-known Danish artist internationally.

Vilhelm Hammershøi’s interior scene from his own living room in Strandgade 30, Copenhagen, certainly deserves a place among the ten greatest highlights at SMK, which owns the largest collection of his works in Denmark.

With its sheer sensuality and refined, simple use of colours, his style holds a strong appeal for Danish and foreign audiences alike. However, international observers often read a rather more sombre mood into his paintings: the quiet, poetic aspects of the paintings take on a melancholy feel when considered in the light of the tradition represented by Nordic writers such as August Strindberg and Henrik Ibsen.

The Hammershøi palette most often comprises the colours black, white, grey and brown, but these can encompass myriad shades, and other colours may be mixed in too. When Interior in Strandgade, Sunlight on the Floor was cleaned in connection with an exhibition in 2012, the conservator identified more than forty different kinds of white in the painting.

Back in his own day, many did not quite understand the finer nuances and simplicity of his colour scheme. Even the Exhibition Committee picking out works for the annual juried exhibitions at Charlottenborg struggled to see Hammerhøi’s qualities and refused to exhibit his works in 1888. Vilhelm Hammershøi speaks very plainly about his way of using colours in an interview in the journal Hver 8. Day in 1907:

‘I honestly do not know why I use just a few, muted colours. It is quite impossible for me to say anything on the matter. It feels natural to me. I most certainly think that a picture works best, in purely coloristic terms, the fewer colours it has’.

Allowing scope for the imagination
Approximately sixty-six of Hammershøi’s paintings of interiors are set in the flat in Strandgade 30, where he lived from 1898 to 1908. This corresponds to almost half of his total production during that period.
In many cases, the subject remains the same from one painting to the next, introducing infinite variety through small shifts to the interior, the light or the figure in the picture. The images are never fully accurate representations of reality; for example, door handles might be omitted, and several areas remain empty.

That is one of the reasons why these images are so compelling. Another has to do with Hammershøi’s ability to allow scope for the imagination and appeal to our senses to the point where we can almost feel the light and the heat. Yet his insistence on an alternative painting style also made people feel unsettled by his art.

‘His pictures are quite dreamlike, so you’re left somewhat in the dark. You become uncertain. I think many people struggled a bit with this in his own day. They were used to something rather more controlled and clear-cut, such as the paintings done by Hammershøi’s teacher, Frederik Vermehren. They were also accustomed to having some small narrative present in the picture, and they didn’t understand where that narrative had gone,’ says art educator Annette Rosenvold Hvidt.

Beauty in a hectic everyday life
Throughout the years, directors such as fellow Dane Carl Th. Dreyer and many artists have been inspired by Hammershøi’s spaces, lighting and moods. Today, we are no longer unsettled by his subject matter; rather, many now feel a sense of calm serenity when looking at his works.

‘Many of us lead hectic everyday lives and need to process large amounts of information. Looking at Hammershøi’s works allows you to slow right down and feel the beauty of the world. There is always something for you to return to. I myself have worked with these pictures for many years, and I’ve sometimes thought there was nothing more to be had. But it seems there always is.’

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