"Mona Lisa" - Leonardo da Vinci
This portrait took Leonardo da Vinci four years. After he completed the portrait, I would like to give it to Zogundo (rich businessman, husband of Mona Lisa) or anyone else. When he was invited by the King of France, he left Italy for France with this portrait. Leonardo da Vinci died in France, which is why the painting "Mona Lisa" is in France.
For centuries, people have talked about her mysterious smile, and her smile was indeed mysterious: it seemed to change. Different viewers or seeing it at different times may have different feelings. Sometimes I think her smile is comfortable and gentle, sometimes she looks serious, sometimes she seems slightly sad, and sometimes she even looks sarcastic and teasing.
In a painting, changes in light cannot make as big a difference as in sculpture. But on Mona Lisa's face, faint shadows appear and sink, covering her eyes and lips with a veil. Human smiles are mainly shown at the corners of the eyes and mouth, but Leonardo da Vinci painted these parts vaguely without clear boundaries, which is why there is this elusive "mysterious smile".
There is a story about this painting. When Leonardo da Vinci was painting Mona Lisa, he asked a musician to play beside her so that she could sit patiently and calmly like a model. The look in her eyes told us she was listening. Now, if we look at her beautiful hands and consider them in conjunction with her face, we feel that the look is more sincere. Her right hand is gently placed on her left hand, and her middle finger has no support at all. We feel that it is tapping gently to the rhythm of the music.
When we look at the scenery behind this realistic portrait, we are surprised by the unreal background. Mountain peaks, roads, small bridges, and flowing water all appear in a dreamy, floating atmosphere, as if to prove that Mona Lisa's thoughts are immersed in a dream world.
"The Last Supper" - Leonardo da Vinci
On the eve of celebrating Passover, Jesus and his twelve disciples sat at the table and entered into the celebration of Passover. A dinner for the festival.
Thirteen people were sitting at the dining table. This was the last dinner they had together.
At the dinner table, Jesus suddenly felt troubled. He told his disciples that one of them would betray him; but Jesus did not say that he was Judas, and the disciples did not know who would betray Jesus.
The "Last Supper" by the great Italian artist Leonardo da Vinci is the most famous of all works created with this theme. This painting was painted directly on the dining wall of a monastery in Milan?
Twelve disciples were sitting along the dining table, forming four groups, with Jesus sitting in the center of the dining table. He spread his hands in a sad gesture, signaling that one of his disciples had betrayed him.
Most of the disciples jumped up in excitement, but the image of Jesus was so calm. We can see his clear outline set off in the windows on the background wall. Through the windows, we see the tranquil scenery, and the blue sky surrounds Jesus' head like a halo.
In the group to the right of Jesus, we see a dark face, leaning back, as if shrinking back from Jesus. His elbows were resting on the dining table and he was clutching a money bag. We know he is the traitor, Judah Iscariot.
The money bag in Judas’ hand is a symbol of him. It reminds us that he is the person who kept the money for Jesus and other disciples. The money bag contains the reward of thirty silver coins for betraying Jesus.
Even if he is not holding the money bag, we can still identify this evil enemy Judas through the way Leonardo da Vinci painted.
Beside the side shadow of Judas is St. Peter. We can also see his silver hair and white hands. He leans towards the young St. John. Peter's right hand hanging on his hip held a knife, and as if by accident, the tip of the knife was pointed at Judas' back.
St. John’s head hung toward Peter. Of all the disciples, he was Jesus' favorite. John was as calm as Jesus, having understood his Master's words.
To the left of Jesus is little James. He spreads his hands wide and screams as he tries to understand the terrible words he hears.
Looking over Little James's shoulder, we see St. Thomas, puzzled Thomas, his doubtful look expressed by his raised finger.
On the other side of Little James, St. Philip leaned toward Jesus, putting his hands on his chest as if to say: "You know my heart, and you know that I will never betray you." His face was troubled with love and devotion.
The six disciples surrounding Jesus are at the center of the story.
Bartholomew and old Jacob's bodies leaned towards them, while old Andrew beside them did not stand up, but he wanted to listen, so he raised his hands as if to ask for silence.
The last three disciples are left on the right. They are discussing what Jesus said, and their fingers are pointing to the center of the table.
Everything they saw happened in this great work, but every time we admire it, we gain new meaning from the disciples' emotions and characters.
"Sunflowers" - Van Gogh
Van Gogh's art is great, but he was not recognized by society during his lifetime. His works contain a profound sense of tragedy, and his strong personality and unique pursuit of form are far ahead of the times and indeed difficult to be accepted by people at that time. He used the environment to grasp the object, and he re-changed reality to achieve tangible reality, which contributed to the birth of Expressionism. When people misunderstood him the most, it was when he was most confident in his creations. Therefore, he left behind an eternal work of art. He directly influenced French Fauvism, German Expressionism, and even the lyrical abstract portraits that appeared in the early 20th century. "Sunflower" was written in the sunny and bright south of France.
The painter is like a blazing flame, full of fiery passion, making the movement and seemingly rotating brushstrokes so thick and powerful, and the contrast of colors is pure and strong. However, this roughness and simplicity is full of wisdom and aura. When viewers look at this painting, they are all touched by the exciting visual effects, their hearts are trembled, and their passions burst out. They are all eager to try, and are integrated into Van Gogh's rich subjective emotions. In short, the sunflowers described by Van Gogh are not just plants, but living creatures with primitive impulse and passion.
"The First Step" - Van Gogh
This work was copied by Van Gogh from Miller's work of the same name. The picture shows a farmland in a rural area, with farmers' houses on the back. On the right side of the painting, a peasant woman supports her little daughter to help her learn to walk. The farmer father of the baby girl on the left squats on the ground and opens his hands to encourage her to move forward.
Although this is Van Gogh's copy of Millet's work, the entire painting reveals Van Gogh's personal style. The painting uses bright colors, mostly blue, yellow and green. These high brightness and natural colors make people feel the active vitality. He used thick black lines on the people and objects in the painting, which was obviously influenced by Japanese art and also added a sense of reality to the painting.
In addition, he also painted trees, shrubs and crops with curved and rotating brushstrokes. This is a technique commonly used in his mature paintings, and it also adds a lively atmosphere to the painting. The whole rural scene makes people feel the real life of farmers, ordinary but dynamic and full of family affection.
"The Creation of Adam" - Michelangelo
An important part of Michelangelo's representative murals. Because of his reputation in Florence, Pope Julius II at the time invited him to participate in the construction of the papal tomb, but he was later interrupted. In 1508, he was forced to accept the task of murals on the roof of the Sistine Chapel. He was in a sad and angry mood at the time. Unexpectedly, this mural later became the greatest masterpiece of his life. The Sistine roof mural covers an area of ??about 500 square meters and is one of the largest murals in the history of art. Michelangelo painted nine consecutive religious paintings of different sizes in the central part of the hall according to the architectural frame. They are all based on the stories in the Bible about the creation of the world until the flood and the Ark. They are named "Dividing Light and Darkness", "Dividing Light and Darkness", " "Creation of the Sun, Moon, Grass and Trees", "Divine Water Landing", "Creation of Adam", "Creation of Eve", "Temptation and Expulsion from Paradise", "Noah's Sacrifice", "Flood", "Noah's Drunkness".
This giant mural took more than 4 years to complete. Due to the long-term painstaking painting on his back, his neck was stiff and he had to put his head on top of his head to read letters. Among them, "The Creation of Adam" is the most outstanding, with the image of Adam in the painting showing a strong figure. , magnificent in spirit, with strong will and strength, showing the artist's extraordinary ideal processing on the basis of realism, and providing profound inspiration to his contemporaries.
"Dream" - Picasso
In 1927, the 47-year-old Picasso met a 17-year-old girl with blond hair and a plump figure for the first time. From then on, this girl has become Picasso painted and sculpted models. Another 17 years later, the 64-year-old Picasso sent her a birthday letter saying: "To me, today is your 17th birthday, even though you have spent twice as many years. In this world, meeting you is the only time I will be happy." It is the beginning of my life. ">This painting was painted in 1932. It can be said to be the most perfect embodiment of Picasso's love for the spirit and body.
"Grand Odalisque" - Ingres
While waiting to study in Rome, Ingres accepted a commission from the city of Liège in what is now Belgium. He painted a "Portrait of the First Consul Bonaparte" there. This was the important period in 1803, that is, after Louis XVI was executed, Napoleon launched the coup of 18 Brumaire aimed at overthrowing the governor. . The first consul wanted to implement a military dictatorship across the country, and the people hated him with gnashing of teeth. Ingres agreed to complete such a portrait. In 1806, he painted "Napoleon I on the Throne". This latter work was a naked eulogy created to celebrate the military dictator's ascension to the throne. Ingres did not care about politics, but he declared his position in these two paintings. When the work was exhibited at the Paris Salon in the same year, it was ridiculed by public opinion.
After Ingres in Rome learned about the reaction to this painting, he felt very heavy and said angrily:
“People always think that the salon is a place to encourage painting. In fact, No, it provides a sad path for painting." In 1813, he married Miss Madeleine Chapel, which finally gave him some solace. He said: “Chapel was the epitome of self-sacrifice and she became a comfort in my life.
"At this time, in addition to painting mythological themes, he also painted several large paintings of nude subjects, ready to be sent to Paris to appear again. This painting "Grand Odalisque" (at this time, the upper class of French aristocrats had a strong oriental sentiment towards Ingres was very interested in the life of the Turkish palace, and some painters deliberately painted the erotic life of the Turkish boudoir to satisfy the visual needs of the nobles. Ingres has painted several images of Turkish palace ladies. To distinguish his other oil painting "Odalisque", it is one of his masterpieces depicting nude women during this period.
When this painting was exhibited in Paris, people said it caused even greater criticism. , as a student of Davitt, Ingres went too far. They sarcastically said: "Mr. Ingres paints living people, just like a geometer draws solids. He did everything to give his sketches a sense of dimension with his budgeted lines! He enlarges and shrinks various parts of the human body, just like the captives on Procrustes' bed (Procrustes; the legendary ancient Greek robber, tied his captives to the iron bed, and cut off their feet if they were longer than the bed, otherwise they were not) Then it can be stretched at will like a couch, etc.). Sometimes, frustrated, he stopped reinforcing the cursed three-dimensionality and began to perfect the outlines. This is called sacrificing one's roots for the bottom, and using a scabbard instead of a sword to duel. ”
The critic De Keiratri put it more pertinently. He once said to Ingres’s students: “His palace lady has at least three extra vertebrae on her back.” "However, Amaury Duval, a student of Ingres and a biographer of his teacher, put it more pertinently: "He may be right, but so what? Perhaps it is precisely because of this long waist that she is so soft and able to impress the audience at once. If her body proportions were absolutely correct, it probably wouldn't be so alluring. ”
This painting of "Grand Odalisque" requires strict classical style, and there are indeed many "deviations". First of all, the "range" of the color is seriously damaged, and the strong blue and blue colors on the background The yellow color of the naked skin, the light and dark and pink tones of the human body are extremely discordant. Secondly, the exaggerated figure mentioned above. This female nude has almost become an experiment in deformed beauty. It completely betrays the teacher's court teachings. His student Duvall tried his best to defend him, saying: "I don't want to say that Mr. Ingres is a romantic. But I also want to affirm that he was never a ‘classicist’ in the sense understood at the time. ”
Ingres seems to have shown his independence in front of nature in this painting. However, due to the firmness of Ingres’s aesthetic beliefs, the performance here has caused people to have bad opinions about him. The ambiguity, attack and criticism are inevitable. From a historical perspective, we feel that Ingres has the courage to explore, even though the character he painted is very fictional.
< p>This painting was completed around 1814 and is 91 x 162 cm. It is now in the Louvre Museum in Paris."The Virgin and Child" - Raphael
In the painting, we are. Seeing the Virgin and Child sitting on a stool, there is a gentle and beautiful scenery behind. It is a sunny day, and we can see the mountains in the distance blending into the light blue sky.
On the right. The bushes lead our eyes to the small church on the mountain. This reminds us that the young mother and her baby belong to the religious world. The two halos around the heads of the mother and the child are a symbol of their holiness. Raphael did not need this symbol to express what he wanted to express. He painted the young mother's dreamy face so sweetly that when we look at her, we can only think of the Virgin.
Her large eyes were looking at nothing at all, as they followed her thoughts. She was deep in thought and did not seem to notice the baby Jesus placing his little feet on her knees. In her other hand, she holds the baby.
When we put her hands and face together, we feel that she has forgotten the existence of the baby, and she is thinking. The way in which Raphael created the portrait of the child established that it was natural for the baby Jesus to be painted larger than his mother. Jesus plays an important role in the painting.
Looking at the face of the Virgin and Child, we can find that the soft outline, big eyes, straight nose and small mouth are consistent with the outstanding Greek sculptor Praxius. The head of Venus created by Tellis has a striking similarity because Raphael was an artist during the Renaissance who had been studying ancient art. But there are also differences. Raphael painted the face of the Virgin. Painting more tenderly, he painted the expression of the ancient goddess more delicately and softly, giving a new Christian meaning to an ancient pagan work of art.
Raphael gave ancient beauty. With new life. In his paintings, ancient art was reborn and developed into a new and different perfect form. Raphael's achievements represent the highest level of Renaissance painting.
"The Boy Who Plays the Flute" - Manet
Manet received six years of academic education in his early years, and later studied the works of many masters of the past. His paintings have both the solid shapes of traditional paintings and the The Impressionist school of painting uses bright, vivid, and luminous colors. It can be said that he is an important painter connecting the past and the future. His works (especially portraits) naturally reflect the character and psychology of the characters.
"The Boy Who Played the Flute" uses a flat figure painting method with almost no shadows to express the reality of the characters. From here we can see Manet's talent and sense of self-confidence. This painting clearly bears the influence of Japanese Ukiyo-e prints.
Note: The name Manet comes from the Latin inscription Manet et manebit, which means: "He lives and will live."
"Woman with a Parasol"— —Monet
This work is Monet's early impression technique painting. There is a lady holding a parasol standing in the middle right of the picture, and her son is far left of the picture. It was a sunny morning, and two mother and son were walking on the grass.
The entire painting uses only simple blue, green, brown and other natural colors, giving people a peaceful and comfortable feeling. The lady in the painting takes up most of the space in the painting and becomes the interesting center of the painting. But the little boy on the left, the parasol and the lady also form a triangle, giving a balancing effect.
Although this painting is an early work by Monet, it can be seen that he has well captured the light and shadow and the momentary impression in the painting. The face and upper body of the woman in the painting are painted in darker colors, indicating that she is under the shadow of the parasol. The entire parasol, face, dress and shadow area on the grass contrast with the light and shadow on the light side of the woman's dress (the same goes for the younger son), just like what you see in reality. In addition, the women's swinging headscarves and pleats on their long skirts also enhance the dynamics of the picture.
"House of the Hanged Man" - Cézanne
At the end of 1872, Cézanne left the hotel on the other side of Pontoise and went to the village of Auvers. By working together with Pissarro and Guilloman in Pontoise, Cezanne made full use of the Impressionist techniques he learned in his paintings. The colors were brighter than before, the pictures were full of vitality and the brushstrokes were more delicate. However, it still retains its original characteristics of strength and ruggedness.
In this work, between the tall roof ridge on the right and the house on the left is a sharply descending road. In the medium shot, only the roofs of the houses in the village are visible. This scene shows the bright fields and sky of Orville Village. The roof ridges, buildings, and roads in the foreground appear solid and powerful, giving it a heavy feeling. The flat fields that often appear in Impressionist works are nowhere to be seen here. The huge object in the foreground blocks the view into the distance, as if driving a large wedge into the peaceful and stable landscape. The use of such a composition and the choice of a theme such as "The House of the Hanged Man" cannot help but remind people of Cézanne's own inner activities and mental state.
"Fountain" - Angel
The young naked woman holds a pot and lets the water pour out. Her muscles are even more attractive because of Angel's beautiful and gentle curves. The use of colors is very soft and varied. It expresses the beauty of nobility and solemnity. This painting "Fountain" began to be brewed as early as Angel's stay in Florence, and it was finally completed more than thirty years later.
"Sunrise·Impression" - Monet
"Sunrise·Impression" depicts a foggy morning in the port of Le Havre, showing the seawater shrouded in the morning light Out of orange or lavender, the sky is rendered with various color patches, reproducing the surface colors formed in the strong atmospheric reflections. This exploration of the language of painting itself was accepted by many painters of later generations, thus forming a major trend originating from Impressionism, and art embarked on a journey into modern times.
"Trackers on the Volga" - Repin
Rebin (1844-1930) was one of the main representatives of Russian critical realism painting in the late 19th century in Russia. "The Volga" Trackers on the River" is his famous work. When he was still a student, the heavy labor of trackers on the Neva River in Petersburg aroused Repin's sympathy. From that time on, he wanted to paint a work showing trackers to remind the lower-class working people of their painful lives and social injustice. In the summer of 1870, Repin and his classmate Vasilyev (who later also painted paintings about trackers) went to the Volga River to travel and sketch. The typical Russian scenery and the life of trackers left an unforgettable impression on him.
In the painting, Repin painted eleven weather-beaten workers, who struggled to pull ropes on the hot riverside beach. The trackers have different experiences and personalities. They live at the bottom of society, but they are a team that has become resilient and interdependent in hardships. The colors used in the background are dim and misty, and the space is empty and strange, giving people a sense of melancholy, loneliness, and helplessness. It truly penetrates into the heart of the tracker and is also a true portrayal of the painter's state of mind. This embodies the purpose of the painting and the emotional content. The foil played a great role.
Therefore, the composition, lines, brushwork and other painting techniques of this painting are quite successful.
"Les Demoiselles d'Avignon" - Picasso
Painters in the past looked at people or things from one angle, and what they painted was only the three-dimensional side. Cubism shows things in a new way. They observe from several angles, observe from several angles that cannot be seen from the front, and express several sides that cannot be seen from the front in a juxtaposition or overlapping manner. come out. In "Les Demoiselles d'Avignon", the tones of the five naked women are set against a blue background, and the background is also divided arbitrarily. There is no sense of distance, and the characters are composed of geometric shapes.
"Venus and the God of War" - Botticelli
The works of Botticelli and Giotto, Masaccio and Donatello brought Florentine art to the In a new era, people loved realism art very much, and Botticelli was the leader of that era. His curvaceous, elegant and unique works made him the greatest genius painter in Florence of that period.
The God of War in the painting is one of the lovers of Venus, the goddess of love. The god of war is sleeping without wearing armor, while Venus is awake. The meaning is that love can conquer war, that is, love can conquer everything.
The work may have been a decoration on bedroom furniture at the time, or it may have been on a bedside, wall panel, back panel or chest.
"Diana's Rest" - Fran?ois Boucher
Diana is Artemis in Greek mythology, she is the goddess of the moon and the hunt, The daughter of Zeus and Leto, the twin sister of Apollo. There are two naked female figures in the picture. The one on the right is Diana, with a moon ornament on her forehead. She is famous for her beauty and cruelty. The purpose of the painter is not the myth itself, but to refer to the beautiful women in the palace during the Louis XV period. Female nude. It is said that the artist painted the special models in the studio - the Muffet sisters, and the artist idealized them. Judging from the shape and color expression, it is indeed a superior work, but the painting is too delicate and exciting.
"Jacob Fighting with the Angel" - Gauguin
This work that seems to be a religious theme is actually characterized by symbolism and depicts Brittany. The vision that a peasant woman on the peninsula had before her eyes while the parish priest was explaining the doctrine. The paintings depict hallucinations in people's minds and are presented in a realistic manner, so the figures in the paintings are not Christian images. The strange hats worn by the Breton peasant women enhance the decorative effect of the picture, while the "fighting" scenes in religious legends are processed in less obvious places to symbolize the minds of these pious Breton peasant women. The illusion reflected in it.
This theme makes his paintings seem mysterious. The painting here composed of red, blue, black and white is a pattern with curved and undulating lines, similar to a Byzantine mosaic. Due to the complexity of content and form, Gauguin's artistic style was also complicated, so historians call it a "syntheticism." Gauguin's style later also influenced the French Nabis and Fauvism.
"Sistine Madonna" - Raphael
On the screen, the curtains slowly opened to both sides, and the Virgin Mary slowly descended from the clouds with the baby Christ in her arms. At her feet, kneeling were the old Pope Sistine II and the young and beautiful Saint Varvara. The former was wearing a heavy cassock and pointed with his hand at the earth where the Virgin should go, while the latter's eyes were downcast, with a hint of piety. Shy, as if praying for mother and son. The Virgin's face is beautiful and calm, but there seems to be a hidden worry between her eyebrows. In order to save all mankind, she will have to sacrifice her beloved son. The little Christ is nestled in his mother's arms. He looks at us with his big eyes, and there is an unusual sense of seriousness in his eyes, as if he already understands everything that is happening here.
"Umbrella" - Renoir
Renoir is good at painting life, lovely women and children. From this point on he had moved away from impressionist techniques and focused on sketching. All the gorgeous colors in this work have been lost, replaced by a new attempt, namely an accurate sketch. It is said that the woman holding a basket in her left hand was modeled after Renoir's wife Arline.