Chapter 28 talk about painting

In my old school classroom I had a Mona .Lisa, a famous painting of the Italian Renaissance.Mr. said: Notice the strange smile on that woman's face.It is indeed a beautiful, trance-like smile that makes people feel a little disturbed. It seems that it can't be kept for a moment, and even when I try to pay attention, it slips away, which makes people feel disappointed for no reason.The husband told us that when the artist took this picture, he tried his best to collect all kinds of rare and lovely things from all over the world and put them in front of this woman, so as to make her smile like this.I don't like this explanation.Green fur turtles, mummy's feet, and mechanical toys don't necessarily make people laugh like this.Isn't it hard to make people laugh like this?But it might not be easy.A woman suddenly thinks of any small action of her lover, making him look very childish?Lovely and pitiful, she was suddenly full of tolerance, growing outside of herself without limit, sheltering his past and future, and there was such a vast smile in her eyes.

Mona.Lisa's model was verified.It's a young lady.Maybe she thought of the clever words her child said this morning, she really knows everything. She only turned four in August, and she laughed like this, but she was reserved, because the painter was painting her, and the lady's smile was Don't show your teeth. However, there was a nineteenth-century British literati who was Walter de la Mare, I can’t remember, and wrote an article about Mona.Lisa, but she talked about the wisdom of ghosts and the mysterious fish and algae in the deep sea.When I see a painting, I want to make a poem. I have no objection that good art should arouse the creativity of the audience, and it should not be a purely passive appreciation. But I hate that Mona.Lisa's explanation, because it is a limited explanation, read the explanation first and then look at the picture, I can't help but look for the shadow of the fish in the deep sea in the eyes of the woman.Such gorgeous attachments seem to increase, but actually reduce the meaning of the picture.

I also read a painting note in my Chinese textbook, but it was very simple. I only counted the horses, how many were standing, how many were lying down, and the poems on Chinese paintings can only be read as words. It is true that Shi Shi writes well, and it gives the structure of the drawing a detached, intentional or unintentional balance, which has become a characteristic of Chinese painting.However, the words themselves have no good influence on the painting. Even if the extremely beautiful sentences are used, once they are transplanted on the painting, they feel inappropriate. So now I am writing this article about the pictures I see, I feel a little guilty of knowing the law, because it is difficult to avoid that attitude of explanation, and there are always limited explanations for all good pictures, but when I write, I feel There is no need to have those scruples, just like meeting friends, ask: The moon is so beautiful these two nights, have you seen it?Is that natural?

I recently got a copy of Sai Zan's paintings, and I have the opportunity to take a closer look at Sai Zan's paintings.Although I knew that Cézanne was the first master of the modern painting school, I was more interested in his disciples, such as Gauguin, Van Gogh, Matisse, and later Picasso, who all grasped a certain characteristic of him and developed it To the apex, it is therefore more paranoid, stark, and compelling.As for Cézanne, which is full of many possibilities, vast and reserved, the only impression I had in the past was the poorly reproduced still life in magazines, a few gray apples, with a tablecloth under it, and a wine bottle standing behind it , From Apple's handling, it should be possible to see how he rediscovered things like blocks outside of lines, but I still don't quite understand.

The book I have here is called Cézanne and his time, and it's in Japanese, so I can't even figure out the title of each painting.Two of the early portraits stand out as noteworthy contrasts.One from 1860 shows a poet-like man with broad brows and big eyes. The dark gold painting only reveals part of his face and collar.I don't like the tradition of Romanticism, that kind of unexplainable mystery, like turning a light switch, throwing an artificial moonlight on everything, so there is a blur of blue beauty, black shadows, chirping inside Bugs and frogs screaming with excitement and terror.

Looking at a painting from 1863, there is also a strange feeling of restlessness in it, but it is not so cheap poetic.In this painting we see a small, big-headed man, past middle age, with wavy, light-colored hair parted long in the fashion of the day.He was sitting on a high-backed chair, his big rolling eyes showed a sophisticated, contemptuous and frivolous kindness.The tall Rendan beard complemented the smile.However, this painting is a bit disturbing. The proportions of the human body are completely wrong. The legs are too short, the arms are too short, and the two hands hanging down are very long. The set contrasts, producing a subtle, civilized horror.

The portrait of a monk painted in 1864 shows a bearded man with a white robe, a wind pocket, a cross hanging from his chest, arms folded, and two big hands. The surface of the hands and face is particularly rough, with ice cracks looming.The whole picture is pure gray and gray, but there is no misery in the severe cold, only the most basic, the bitter struggle between man and wind, hail, mountains and rivers. Many of the most obsolete themes of religious paintings since the European Renaissance are quite different in the hands of Cézanne.The statue of the Virgin holding the body of Christ is really amazing.The Virgin Mary is the most ordinary woman, poor, and does some sewing work on a piece-by-piece basis.Gray heart, gray hair, white hooked nose and closed mouth, there are forty or fifty years of narrow pain.She didn't hug Christ, she turned her back and was busy with something. From the folds of her dark clothes, she could smell the smell of poverty.The one holding Christ is another big butcher-like man, with arms as thick as stone pillars, and a bald head with a white heart attached to a gloomy face. At first glance, it looks scary, but after watching it more, you realize that the cruelty has its own pain. Background, but also a sympathetic person.Especially strange is Christ himself, dark-skinned, muscular, peaceful-faced, with legs stretched across the picture, all he has is pictorial beauty and seems to mean nothing else.

Among the walkers, one is taller and wears a tall gentlemanly hat, and the other is shorter, more like a warrior, wearing a large blanket hat with a rolled brim, wearing long leather boots, and holding a Yorke.On that hot afternoon, the grass, trees, and light-colored houses were steamed into a cloud of bright smoke, and the shirts of the two strollers smelled of old sweat, but their bow ties were still neatly tied, and they held each other in a daze. He walked towards us with a good temper, looking very cute and pitiful. The backs of the two fashionable men in the wild scenery also give people the same small and sad feeling, but the theme is two fashionable women.This kind of pattern is the cliché of general academic portraits. Aristocratic lady with beaded hair and strict make-up stands proudly there like a small white mountain; the background is slightly dotted with trees and castles, which may be her family's hereditary color.Yet the women here are absolutely realistic.A black-haired man with low forehead, strong and worldly, with a kind of worldly wisdom.A yellow-haired one is a little more noble and artificial, standing with a slanted body, showing off the layered skirts like a bird with a long tail, leaning his cheek against the leather muff, and there is a kind of hazy poetry on his face with dilute eyebrows.It is strange to put these two women in a deserted place, and the wind is blowing a big flag far away. It reminds people of the hyper-realism in recent times. Painting a tree with a sofa chair embedded in the top of the tree, in the wild The bright sunlight shines on the floral chair cover, desolate like a dream.Saizan did not develop this artistic conception to its end, so it is more mellow and lovely.

Pastoral is a group of men and women by the water, squatting, lying, and sitting, with white flesh and white clothes flowing past like music, lowering back into a U-shape.At the corner, a naked woman stretched her arms up to support her neck. The flesh around her body fluctuated, and the whole picture was rippling with strange light. The one titled Olympia must have been based on Greek mythology.I don't quite understand it, but I only like the female portrait in the center, the woman curled up in a ball and sleeping, with such fat and bloated legs, but it can still be seen that she is young and solid.

I don't like the Temptation of St. Anthony, it seems to be his preferred theme. There are two paintings before and after. The early one is dark and messy. St. Anthony has a woman's breasts, but the woman in the dream is like a horse. The later one is dark and messy. One is light and chaotic. A Day of Summer captures that permanent yet temporary feeling of the sun shining on you.The child by the water stood with his arms and legs outstretched, looking very happy, with his back like a toad.The woman holding a small umbrella under the big sun looks ridiculous.There are more tourists on the other side, the woods look like silky clouds, and the light blue sky is nestled with flounced clouds, but it is hot, extremely hot.The white sails of the boats glowed with molten iron, and the boatmen and workers were scorched black.

The portraits of the two children, if viewed together, are astonishing in their humanity.The child with his head in his hand, with a large light shining on his protruding forehead, has a clever, questioning, mischievous, and naughty face. It is the most powerful part of human beings struggling forward.However, a child is a child after all, a white shirt is exposed in a broad coat, it is like a small white thing that is easy to be destroyed. There are also many obedient ones, like another kid here, a bright and civilized person, as gentle as porridge, those big eyes staring at you, out of good intentions, there may be some small villains, although the small villains Bad can be completely ignored, because he is useless, unpromising, half-hearted, with a crooked face. In terms of brushwork, the previous one seems to be extremely simple, but to express the child’s mixed aura, there are still mixed strokes in the enlarged block of coloring. When it comes to the portrait of the child seven years later, it is almost It's all big planes, but what a solid plane! There is a man named Chakai, (according to the Japanese translation, the pronunciation may not be accurate) who must be a friend of Cezanne, and there are two portraits of him here.When we saw him for the first time, he was already an old fool, trembling, sitting on a chair with his legs crossed, one hand on the back of the chair, fingers crossed, trembling and suspicious from the top of his head to his shoes and socks. Light and shadow show his timidity, nagging, triviality.Obviously, this man has gone through many things, but he has never realized a single truth, so he is very panicked.But at the same time, he thinks he is experienced, and if he stands under the prestigious stone archway, he will teach others.The irony here does not lack warmth, but in a portrait nine years later, this warmth expands and becomes the most delicate caress.This time he was sitting outdoors, with the dense leaves as the background, the same white hair, slender, and he looked much younger.His fear caused by ignorance of all things is now mixed into a big confusion, because of the vastness, he has calmed down, and there is such sadness, melancholy, and retirement in the downcast eyes; the narrow mouth is smiling, It is a pleasant morning in the summer garden.There is love in every stroke of this painting, for this person, this person's nostalgia for life. Those who are interested in the exaggerated and distorted lines in modern paintings can pay special attention to the enlarged hand that has been removed from the protagonist. Significant psychological changes can also be seen in several portraits of the painter's wife.The earliest one is based on the two lovers in the traditional story, but we refer to the later portraits and know that the woman's face has many similarities with his wife.Obviously, the theme here is the painter's own love affair.The background is romantic, with reeds and other plants growing on the shore of the lake, and the morning sun shines on the woman's white kerchief, which has the feeling of green grass and white dew turning into frost.A woman puts a hand on a man's bare shoulder. She is shallow at heart, and her kindness is limited to obeying the rules. But when the sun of love shines on her, she becomes generous and wise at that moment, as if something I understood, and was moved to tears.The painter wanted her to be like this, and made her like this. Instead, he painted himself as a passive, subordinate, and personalityless young man, sitting at her feet with his head down, accepting her mercy, and his whole body seemed to be smaller than hers. number one. Jian Shang's wife appeared in his paintings for the first time. She is a girl with a round face, big slightly protruding eyes, and everything is very indifferent. She probably received a strict middle-level family education, so she is very reserved, but she is very cautious when she is in love. Infected the ideals of the painter and sanctified their relationship. Her second appearance was a real surprise.I think it was many years later, she was sitting on an old velvet sofa that was spread out like a dark cloud, she was sewing with her head down, her eyes were protruding, her nose was sharper than before, her chin was squarer, she looked strong-willed and tightly-wound. The bun is tied up, the collar and sleeves are as hard as tin, and the door can be seen behind it, which is a blunt rectangle with a lock on the door; the flowers on the wall, and the flowers on the paper, are also small. The iron cross; the iron woman's virtue, the eternal smiling patience, is it not easy to be a poor artist's wife?And all of this comes bit by bit. Life is a terrible thing! However, five years later, Cezanne painted his wife again, but he caught her in an instant of tenderness.Her hair was loose, and she was probably wearing pajamas, satin, soft and bright with wide stripes, which could not support her.She tilted her head, thinking deeply about her thoughts. Memories made her younger. Of course, there is no such sadness in the eyes of young people.People who endure hardships for their ideals later find that there is very little left of their ideals, and that point is so slim, but because they have endured hardships, the remaining points are better than before, like music floating in the distance, The originally simple tone is mixed with the breath of the earth and the seasons.However, this look is only temporary.In another portrait, her hair looks cropped like a boy's, and her face reminds one of a weather-beaten child, with the feeling of being too old.The chin is stretched forward, and the pointed half of the side is like a small rusty black foreign knife, which has just cut through the apple, and it is greasy with sour juice.She was still smiling, with a bleak look in her eyes. Bravery should be tragic, but travesty is something for a hero, and she can only be bleak. Look at another one, which is even more unpleasant.The painter's wife is sitting in his studio, with bright floral curtains hanging slantedly above her head, and the shadow of the sun on the wall, but the light here is not hers, she is just a woman in the kitchen.She was wearing dark, greasy clothes, and what she was holding might have been a handkerchief, but from the way she held it, it should have been a rag.She was about to operate, and he asked her to be a model, and she came to sit for a while like a perfunctory child.She had been smiling all these years, and now the painter had to admit it was such a tired, clumsy, sloppy smile.That hard-working face has very little femininity, and one eyebrow is higher, which seems to be irony after disappointment, but it is actually the warmth after extreme familiarity.You can only see it if you look closely. Madame Cézanne's last portrait is lively and vivid.She sat in the garden under the sun, and the flowers and plants and the white road raised the smoke and dust of spring and summer.She was dressed in her best Sunday dresses, her whalebone girdle cinched her tightly, and she had regained the figure of a young woman, and her outstretched hands had strong, lovely wrists.However, the spring behind has nothing to do with her.The painter's environment gradually improved, and the hard days were over, but she was not used to it after suffering from the hard days.The pleasure on her face is pleasure without content.If the bright background is removed, the joy on the face becomes strangely hollow, close to insanity. After seeing a good wife like Mrs. Saishan, and then seeing a selfish woman, I feel relieved.A woman wearing a bald head and a reverse scarf, with a long pale face and a long nose, with a cold charm in her big eyes, and the disdainful look of a city person going to the countryside.Maybe a lady.Perhaps a ladylike charlatan. A painting called a statue, with a few strokes, it expresses the hard and sour, special feeling of stone.A picture cannot come nearer to a statue than this.Whether the original intention is ironic or not is unknown, but in my opinion, it is somewhat ironic. The typical statue of a child uses fat protruding gills, protruding belly and tendons to represent god-like health and vitality, but in the end it expresses greed. Anger, arrogance, excessive alcohol, sex and wealth, are far from gods, and even farther from children. In addition, there are many themed groups taking a bath, all of which are under the forest by the water. Sometimes they are all men, but most of them are women. They seem to pay attention to the difficult-to-draw poses and the beautiful arrangement of human body patterns, especially the last one. The women in Zhang Shuiyan, the expression of the human body gradually became abstract, which opened up the atmosphere of Cubism in later generations. There are two sketches of the Meat Sacrifice, which are about the public chase between men and women at the carnival.The air is chaotic, so the brushwork is also very chaotic. There is only one thing that can be seen: all women have bigger bellies than men. The Last Day of Maslenitsa is a masterpiece.Two prodigal sons, dressed as clowns, came back from a big game. One carried a cane;All the lines are slanted, and the air is the relaxation after satisfying the desire.The meat sacrifice is a classical custom, which has been lost, but the facial expressions of the two people here are very common, frivolous, simple self-confidence, cleverness, ruthless and tasteless. Skull and Youth depicts a growing student sitting next to a small table, with his knees pressed against the legs of the table, as if he couldn't fit in and everything was out of place.The student's face is indeed a student's, naughty, idle, full of fantasies, not very respectable.The cheap ruffle table can imagine the feeling of the wavy edge embedded in the river.There are books and a ruler on the table, and a skull presses the paper.Skulls used in medicine are very intimate things, very homely.Especially the household chores of student days, like the smell of sweaty feet stuffed in basketball shoes. It describes an old woman wearing a ruffled hat. She sits with her head down and counts her rosary beads. A fox-like face is exposed under the hat. Most of her human nature has died, and the only thing left is greed, and she has no strength to steal. , looting, hoarding, so her heart is always restless; she doesn't seem to pray for peace, nor does it seem to be for the ideal of heaven, she just counts the little hard cores in her hands, counting the things in front of her eyes, she The days with them are not long, and she can't do anything with them, she can only lick them here and there, so that everything is covered with a layer of fishy liquid. Cézanne's own old age was nothing like this.In his last self-portrait, he wears a playboy-like bird cap tilted to one side, has a white beard, tall thin eyebrows, and a kind of perceptive treachery on his face, but the smile in his eyes is very cute, It seems to say: Look away, there will be spring in this world without me.Old age is not lovely, but old people have many lovely things. In the landscape painting, I like the dilapidated house the most. It is a white house under the midday sun, with a black window that looks like a one-eyed eye; there is a big gap from the roof, and the house seems to be laughing and shaking. Shocked, I was about to collapse from laughing.The path leading to the house is no longer visible, and there are high and low grass growing all around, which is very faint and blurred in the sunlight.The choked daylight reminds people of the ancient roads of Chang'an, where the sound of the west wind shines, and the mausoleum of the Han Dynasty.But there is no majestic past here, only the desolation of the middle class, and even more emptiness.