Sargent, Carnation, Lily, Lily, Rose발음듣기
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Sargent, Carnation, Lily, Lily, Rose
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베트남어 번역 1명 참여
출처 : 칸아카데미
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STEVEN ZUCKER: The fading light of the sun is being replaced by the lanterns being held by these children.발음듣기
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It is that moment at twilight when artificial light just begins to assert itself against the light of the day.발음듣기
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And the repetition in the title really gives us a sense of the idea of repetition of form and light throughout this painting.발음듣기
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Look at the way that the Japanese lanterns move from left to right across the middle of this canvas.발음듣기
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And we do read across. But of course, our eye also stops because there's so much that's beautiful to look at here.발음듣기
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STEVEN ZUCKER: There's nobody that moves paint across the surface of the canvas like Sargent.발음듣기
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And how he's just moved that brush across the surface in rendering those roses or the carnations down towards the bottom, or even the ridges of the lanterns themselves, and the way in which those blue shadows play against the beautiful, warm, illumination from within.발음듣기
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BETH HARRIS: It's interesting because the parts of a painting that you would expect to be illuminated are not.발음듣기
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Everything is drenched in dusk. You look to the faces of the children for where they would be illuminated, where you might see the expression on a child's face, but he hasn't concentrated his attention there.발음듣기
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The parts that are illuminated are these lanterns against this graying, green forms of dusk.발음듣기
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STEVEN ZUCKER: Look at the way that the canvas is really flat-- clearly, the influence of Japanese prints.발음듣기
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BETH HARRIS: And so there is a conflation of nature and childhood and innocence, and all of those things coming together. It's just lovely. 발음듣기
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BETH HARRIS: So we have a painting that lacks any kind of a real subject except for the quality of light and color harmonies-- these greens and peaches and pinks and white.발음듣기
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And we see this in British painting in the last half of the 19th century with artists like Albert Moore, where the subject of the painting is the color harmony, art for art's sake.발음듣기
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STEVEN ZUCKER: This is well into this movement that we know as aestheticism, which removes all of the literary, all of the weighty subjects of history, and really make the painting and the beauty of the painting its main focus.발음듣기
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BETH HARRIS: And the formal qualities of the painting, shapes, patterns, colors, those are the things that become most important.발음듣기
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And it's easy to see how this becomes important to the beginnings of abstraction, looking at art not for what it's representing, not for the objects it's copying from the world, but for the things that art is made of itself.발음듣기
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So he was also very interested in tonal accuracy and accuracy of form, even if, in fact, ultimately the painting is about painting.발음듣기
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Painting outside with models is not an easy thing, especially when you've got children, and dusk is such a fleeting moment.발음듣기
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And so one could imagine him in England, in this garden, really trying to keep everybody's attention, making sure that the weather is right, making sure that the light is just right, and trying to get all of this down.발음듣기
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