艺术品展示 / 油画
《花边女工》(The Lacemaker)

名家名作

《花边女工(The Lacemaker)》
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档案记录

画作名称:
La Dentellière
中文名称:
花边女工
画 家:
约翰内斯·维米尔(Johannes Vermeer)
作品年份:
1669-1670 年
原作材质:
布面油画
画作尺寸:
24 × 21 cm
馆藏链接:
罗浮宫博物馆(musée du Louvre)
备注信息:

       The book in the foreground, probably the Bible, sets the model's activity in the traditional context of morality infused with religion. The woman (who is not, as has been unfoundedly claimed, Vermeer's wife) is not wearing work clothes. The marvelously colored cushion on the left is a sewing cushion, used to store sewing materials. The concentration of the model and the play of colors against the light gray background make this one of Vermeer's masterpieces.

    Everyday morality
        Renoir considered this masterpiece, which entered the Louvre in 1870, the most beautiful painting in the world, along with Watteau's Pilgrimage to the Island of Cythera, also in the Louvre. A young lacemaker, undoubtedly a member of the Delft bourgeoisie, is hunched intently over her work, deftly manipulating bobbins, pins and thread on her sewing table. The theme of the lacemaker, frequently depicted in Dutch literature and painting (notably by Caspar Netscher) traditionally illustrated feminine domestic virtues. The small book in the foreground is probably the Bible, which reinforces the picture's moral and religious interpretation. But this is also, as in Vermeer's famous Milkmaid (circa 1658, Rijksmuseum, Amsterdam), one of the peeks into domestic privacy that so fascinated him. He loved to observe the everyday objects around him and paint different combinations of them in his works: he used the same piece of furniture and Dutch carpet with leaf motifs in several of his pictures.

    Gentle intimacy
       The painting's intense intimacy stems both from its small format (this is the smallest painting Vermeer painted) and the central framing of the figure. The Delft master's genius consisted in reproducing the natural optical deformations of the human eye by creating several depths of field. The center of our attention, the lacemaker's painstaking work, is shown in great detail and in sharp focus, particularly the fine white thread stretched between the young woman's fingers. Further away from this visual focus, the forms become more blurred, including, paradoxically, those in the foreground. The white and red threads hanging out of the cushion are rendered in almost abstract dribbles of paint. The tapestry, painted with little "pointillist" dabs of pure color, is also out of focus. The harmonious color of this pictorial gem, so characteristic of Vermeer, fascinated Van Gogh, who in a letter to Émile Bernard in 1888 noted the beauty of its " lemon yellow, pale blue and pearl gray arrangement."

    The silent poetry of light
       Yet, despite the illusion of immediate proximity with the lacemaker, we cannot really penetrate her universe. The forms of the tapestry, sewing cushion and small table come between us and her, and her work is hidden in her right hand. Vermeer's pictures have a "poetry of silence" which places his figures, caught in an intimate, impalpable moment, in a world removed from ours, in a clear, gentle brightness that seems to cling to objects in soft specks of light.

     

    百度翻译:http://fanyi.baidu.com

          《花边女工》是维米尔的代表作,以诗意化的方式描述一个在编织蕾丝的女工那种专注平和的神情,以一种抒情情调给人美的享受。维米尔与同时代画家的不同之处在于,他以极端、甚至颤抖的感光度来表现光线,喜欢用蓝色和柠檬黄两种色彩组成十分和谐的色调。他的作品中特别的光感,实际上是借由一种新的技巧而达成的。这种技巧部分依靠光学实验,但主要是依靠着观察,以及对色彩微妙的渗透反映的直觉。他捕捉色彩光亮的方法相当特别,以微小的如珍珠的亮点构成物体轮廓,作品中的焦距平均分配,因此显得平静与客观。

 

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@卢浮宫博物馆:Le motif de la dentellière au travail est traditionnellement un signe de vertu domestique, teintée de moralisme religieux (le livre, à droite, est sans doute une petite Bible ou un livre de prières). Soit une femme d’intérieur et de haut niveau social (aucune preuve qu’il s’agisse de l’épouse du peintre) et non une dentellière professionnelle. À gauche, un sac à couture ressemblant à un coussin d’où s’échappent des fils de couleur, fort bien rendus, vision rapprochée presque trouble renforçant le rendu très précis du deuxième plan. La lumière arrive de la droite, ce qui est plutôt rare chez Vermeer. Dessin-calque de la fin du XVIIIe s. au musée Boymans, Rotterdam, insérant le personnage de la dentellière de Vermeer dans une niche (cf. Van Gelder, 1972), reprenant une aquarelle de Jan Stolker (1724-1785) qui est responsable de cette fiction : on doit exclure évidemment que le M.I. 1448 ait été coupé (cf. Blankert, 1986). – À dater assez tard dans l’œuvre de l’artiste, vers 1669-1670.