雷诺阿风景作品《诺穆提耶岛拉谢兹树林》高清图片

作品简介

1892年9月，雷诺阿(Renoir)游览了诺穆提耶岛(Noirmoutier)，这是法国西海岸外的一座岛屿，位于圣纳泽尔(Saint-Nazaire)和卢瓦尔河(Loire)河口以南。当时，他正在法国西北部进行长时间的旅行。诺穆提耶岛东北角的诺穆提耶镇周边地区是一个精选的旅游胜地，尤其是位于该镇北部的拉谢兹树林(Bois de la Chaise)，更是雷诺阿画布上的主题。这片树林以透过松树看到的美景而闻名，同时也是供游客居住的别墅和小屋的所在地。一本旅游指南告诉我们，相较于时尚社会，这里更受贵族的青睐。雷诺阿入住的是岛上最主要的酒店——诺穆提耶的黄金狮子酒店(Hotel du Lion d'Or)，该酒店在拉谢兹树林设有一处附属建筑和一家餐厅。在游览该岛后不久，他写信给贝尔特·莫里索(Berthe Morisot)说：“我去过诺穆提耶了，那里美极了，完全是南方的风情，比泽西岛(Jersey)和根西岛(Guernsey)好得多，但就是太远了，实在太远了。”而对于保罗·加里马尔(Paul Gallimard)，他只是简单地评论道：“诺穆提耶是个奇迹。”在巴恩斯基金会(Barnes Foundation)收藏的雷诺阿1888年至1893年间创作的重大户外场景画作中，《诺穆提耶岛的拉谢兹树林》(Bois de la Chaise, Noirmoutier)在氛围和表现手法上与《圣让半岛》(Peninsula of Saint-Jean)最为接近。高大的树木勾勒出视野，目光穿过较小的树木和灌木丛，便可望见远处的开阔海域。两位穿着时尚的女子坐在背景中的一棵树下，海面上点缀着休闲帆船的白色风帆。这显然是一幅描绘休闲娱乐的风景画，与《圣让半岛》中出现的农业劳动场景截然不同。与《圣让半岛》一样，这幅画的表现手法让人联想到让-巴蒂斯特-卡米耶·柯罗(Jean-Baptiste-Camille Corot)晚期的作品，尤其是前景中作为衬景的树木那柔韧流畅的树枝，以及柔和斑驳的光线。然而，《诺穆提耶岛的拉谢兹树林》的色彩要比柯罗晚期的画作鲜艳得多;雷诺阿的印象派风格在这幅画布上色彩变化的运用中显露无遗。阴影和大海中的蓝色与树干上的深红色以及坐着的人物和阳光照耀下的地面上的暖色调形成鲜明对比;树叶中的绿色也始终变化多端。不过，与《圣让半岛》相比，《诺穆提耶岛的拉谢兹树林》在自然形态的表现上更加模式化和简化。树枝变成了优雅的装饰图案，光影斑驳暗示着阳光透过树叶洒落，但完全没有细致入微的观察。雷诺阿在给莫里索的信中谈到了绘制风景画的困难：“风景画是我的专长，但我再也不能像街头艺人那样在户外作画了。”他在谈到诺穆提耶时还补充道：“如果我更勇敢一些，那里会有很多非常漂亮的东西可以画，因为到处都有美景。”从这些评论来看，似乎很有可能《诺穆提耶岛的拉谢兹树林》以及另一幅表现手法非常相似的拉谢兹树林画作是在画室里完成的，也许是在他回到巴黎之后。这一结论得到了这两幅画与第三幅诺穆提耶岛风景画(瑞士温特图尔的奥斯卡·莱因哈特博物馆[Museum Oskar Reinhart]收藏)之间显著差异的证实;这幅画同样展现了透过树木望向大海的景色，其中也有一个小人影，但树木的形态要具体得多，而且整幅画布的绘制更加迅速和随意。看起来，这幅画很可能完全或大部分是在现场完成的，而且它和其他类似的画作可能构成了《诺穆提耶岛的拉谢兹树林》的基础;回到画室后对场景的重新构思，将其从特定地点的画面转变为更普遍的户外休闲田园诗。

Renoir visited Noirmoutier, an island off the west coast of France, in September 1892. This painting depicts the Bois de la Chaise, an area on the nothernmost part of the island renowned for its picturesque vistas of the sea seen through the pines. The Bois was also the site of villas and chalets for aristocratic visitors.

Renoir visited Noirmoutier, an island off the west coast of France to the south of Saint-Nazaire and the estuary of the river Loire, in September 1892, during an extended period touring in northwestern France. The area around the town of Noirmoutier, on the northeast comer of the island, was a select tourist destination, and especially the Bois de la Chaise, to the north of the town, which forms the subject of Renoir's canvas. The Bois was renowned for its picturesque vistas of the sea seen through the pines, and was the site of villas and chalets for the visitors, favored more, a guidebook tells us, by aristocratic than fashionable society. Renoir stayed in the island's principal hotel, the Hotel du Lion d'Or in Noirmoutier, which had an annex and a restaurant in the Bois de la Chaise. Shortly after his visit to the island, he wrote to Berthe Morisot, "I have been to Noirmoutier; it is superb and completely southern, much superior to Jersey and Guernsey, but too far away, much too far away." To Paul Gallimard, he simply commented, "Noirmoutier's a marvel." Among the significant outdoor scenes painted by Renoir between 1888 and 1893 in the Barnes Foundation,Bois de la Chaise, Noirmoutieris closest in mood and treatment toPeninsula of Saint-Jean(BF240). Tall trees frame the view, and the eye is led through smaller trees and bushes to the open sea beyond. Two fashionably dressed women sit beneath one of the background trees, and the sea is punctuated by the white sails of recreational sailing boats. This is emphatically a landscape of recreation and leisure, without the hint of agricultural labor that appears inPeninsula of Saint-Jean. As inPeninsula of Saint-Jean, the treatment of the scene is reminiscent of the later work of Jean-Baptiste-Camille Corot, especially the supple cursive branches of the foreground trees that act as a repoussoir, and the soft dappled light. Yet Bois de la Chaise, Noirmoutier is far more highly colored than Corot's later paintings; Renoir's impressionist past is evident in the play of varied colored nuances throughout the canvas. The blues in the shadows and the sea are set off against the deep reds in the tree trunks and the warm accents on the seated figure and the sunlit ground; the greens in the foliage are also constantly variegated. However, in comparison withPeninsula of Saint-Jean, there is a greater degree of schematization and simplification in the treatment of natural forms inBois de la Chaise, Noirmoutier. The tree branches become elegant decorative patterns, and the patches of light and shade suggest sunlight falling through foliage, but wholly without closely observed detail. In his letter to Morisot, Renoir commented on the difficulty of painting landscape: "Landscape is of one's metier, but I no longer can plant myself out of doors like a street entertainer." He added, in his comments about Noirmoutier, "If I was braver, there would be some very pretty things to paint there, as there are everywhere." In light of these comments, it seems very likely thatBois de la Chaise, Noirmoutierand another very similarly treated canvas of the Bois de la Chaise were painted in the studio, perhaps after his return to Paris. This conclusion is confirmed by the striking difference between these two canvases and a third view of Noirmoutier (Museum Oskar Reinhart, Winterthur, Switzerland); this shows a similar view through trees to the sea, with a small figure, but the trees are far more specific in their forms and the whole canvas is more rapidly and informally executed. It seems very likely that this was wholly or largely executed on the spot, and that it, and perhaps other such canvases, formed the basis for the Bames'sBois de la Chaise, Noirmoutier; the reconfiguration of the scene, back in the studio, transforms it from a picture of a specific site into a more generic idyll of outdoor leisure.