艺术品展示 / 油画
《希神俄尔甫斯》(Orpheus Leading Eurydice from the Underworld)


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Orpheus Leading Eurydice from the Underworld

画 家:
卡米耶·柯罗(Jean-Baptiste Camille Corot)
112.7 × 137.2 cm
休士顿美术馆(The Museum of Fine Arts, Houston)

 Camille Corot was much beloved during his lifetime for his ethereal, dreamy landscapes that often combined scenes from mythology with a very personal interpretation of nature observed. Claude Monet himself said, "There is only one master here: Corot." In this painting, the fabled musician Orpheus--who beguiled the Greek gods to allow him to retrieve his beloved wife, who had been fatally bitten by a snake--leads her tenderly from the underworld. In ancient times, it was believed that the deceased continued to exist as spirits, seen here gathered in small groups beneath the delicate trees. Corot, a great music lover, has imbued this work with a sense of melancholy lyricism that hints at the tragic end of the story: Orpheus loses Eurydice forever when he turns to look at her before reaching the world of the living. The sense of filtered reality is enhanced by Corot's extraordinarily subtle use of color. He strikes a wistfully sweet tonal chord, carefully modulating a narrow range of grays, greens, and blues. Orpheus Leading Eurydice from the Underworld looks forward to the artist's signature paintings, the Souvenirs and Memoires, in which Corot removes all narrative elements and lets his landscapes stand as "pure" objects.



 In the haziness, a young poet named Orpheus leads his wife Eurydice from the murky depths of Hell, otherwise known as the Underworld. In Jean-Baptiste-Camille Corot’s creation for the Academie’s Salon du Paris, Orpheus Leading Eurydice from the Underworld, Jean-Baptiste-Camille Carot, French, 1861, Oil on canvas. Museum of Fine Arts, Houston, we see an image of love and loss combined with hope and despair in one single piece of art. Legend has it that when Eurydice died and passed on into the Underworld, Orpheus made a deal with the ruler Hades. If Orpheus could lead Eurydice out of the Underworld without looking back at her, she would be allowed to return to the land of the living. But, right before they reach the entrance, not quite on the other side, Orpheus turns unable to resist looking at his beloved wife and loses her forever to the ruler of Hades and the Underworld.

 The painting itself is a massive masterpiece like no other. This oil on canvas composition, with its sheer size alone, conveys a sense of massive storytelling within an intimate space, making the story background of the composition, beyond the river Styx, we see the despair and grief of the lost and alone within the enveloping haziness of the Underworld. While in the foreground, on the outer banks of the river Styx, we see Orpheus and Eurydice at the entrance to the Underworld. Orpheus shields his eyes with his lyre, a symbol of undying love, while leading Eurydice with her blank expression towards the entrance. This image is the moment right before Orpheus turns around, thinking they have reached the other side of the entrance to the Underworld. Her gaze is lifeless, as if she has already given into the fact that she is already lost to the depths of the Underworld, almost knowing that she will be a permanent resident.

 There is a major sense of depth here as the closer you get to Orpheus and Eurydice the sharper the image gets. The river Styx marks the distance between the two different painting techniques. In the foreground, exemplified by the crisp, defined lines of the classical French painting of the time, while beyond the river, the further back you go, you will get the glimpse of a very early stage of the Impressionism movement with its soft, blurred lines which make the forms of the lost souls almost melt into the background, as if they are merely part of the scenery and not of the storyline itself. They further add to the composition a sense of loss and despair. Although they are there, heads bowed and huddled together, they seem to take up a hazily lit area in the center of the work, nearest the shores of the river, which may symbolize the closeness to death for all humans, the actual idea of impermanence within this world. This very realistic and powerful driving force makes this painting an important work of art amongst the Museum of Fine Arts, Houston’s exquisite French painting collection.








@流歌之呓语者: 音乐之神俄尔甫斯,他有一把竖琴, 当他弹起琴歌唱的时候,声音低回凄婉,如泣如诉, 就连山野中的动物也会听得入迷。有一天,他遇见了泉的精灵欧律狄刻,爱情的火焰瞬间融化了他们, 在众神的祝福下,他们结了婚,但是快乐永远是短暂的,新婚的两个人在天地间尽情的欢舞着,“亲爱的,你看,那有一朵玫瑰花”,那是一朵海蓝色的蓝玫瑰, 他快步走过去,就在这时。一只毒蛇狠狠的在欧律狄刻的腿上咬了一口, 俄尔甫斯悲痛欲绝,抱着妻子的尸体哭喊着,撕扯着自己的长发,却无济于事。 最后他不顾一切的带著竖琴前往阴间。悲歌,感动了凶猛的冥界守门犬克贝鲁斯和冷漠的冥河渡夫卡戎,整个地狱瞬间安静下来,悲痛声第一次在冥界停止。他来到冥王哈里斯面前,俄尔甫斯拨动竖琴,幽幽的琴声诉说着他悲伤的心事。冥后珀耳塞福涅被这种人间真情所感动,答应他可以带着他的妻子回到阳间,并吩咐俄尔甫斯离开冥界前不可回头看,以作为归还妻子的条件。 俄尔甫斯带着妻子渡过了冥河,走过黄泉,面前出现了亮光,那里就是出口!俄尔甫斯突然担心起来,为什麽听不到欧律狄刻的脚步声?为什么只有我自己的呼吸?刚踏出口,他忍不住回头,转瞬间,可是此时,欧律狄刻只有上半身出来,她的下半身仍在冥界,俄尔甫斯一回头,她就又被一股力量引回了冥界。俄尔甫斯疯狂地在妻子后面追赶,但是这次冥河的船夫没有让他渡河。俄尔甫斯失意地弹著竖琴,徘徊在山野间, 由于他不近女色,因而招致其他女子的怨恨,她们在酒神节的夜里,将他折磨至死,然後把尸体抛弃河中。但是这样,俄尔甫斯就可以去到冥界,跟自己心爱的妻子永不分离。