艺术品展示 / 油画
《窗边的女孩》 (Girl at a Window)

名家名作

《窗边的女孩》
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画作名称:

Girl at a Window

中文名称:
窗边的女孩
画 家:
伦勃朗(Rembrandt Harmensz van Rijn)
作品年份:
1645 年
原作材质:
布面油画
画作尺寸:
81.8 x 66.2 cm
馆藏链接:
Dulwich Picture Gallery
备注信息:

 Painted in 1645 when Rembrandt was 39, this painting falls somewhere between genre and portraiture. The girl’s identity remains uncertain; in the past she has been described as a courtesan, a Jewish bride or an historical or Biblical figure. It is more widely accepted that she is a servant girl; her rosy, tanned complexion along with her brown arms implies she worked outdoors. Leaning on a ledge, she stares directly out of the painting while fiddling with her necklace, either a gold chain or a cord, like that seen around the cuffs and along the seams of her loose chemise. She also wears a small headdress, possibly a type worn in North Holland, and her hair is tied back with red string.

 A frequently quoted account by the French art theorist and early owner of the work, Roger de Piles (1635-1709), claimed that Rembrandt put this painting in his window and passers-by mistook it for a real girl. While this story was not strictly true, it served as a general comment on Rembrandt's ability to create realistic portraits that could seduce his viewers. Such trompe l’oeil paintings, where the subject seemed to protrude out of the picture frame, became popular in the 17th century and Rembrandt continued to use and adapt this pose throughout his career.

 The confident brushstrokes and impasto paint is typical of Rembrandt’s style of the 1640s. During the recent conservation of this painting, the discoloured varnish was carefully removed, revealing a bold mixture of colours in the model's face. Rembrandt often applied his paint with palette knifes as well as his fingers.

 

百度翻译:http://fanyi.baidu.com

 Further Information: " Falling somewhere between genre and portraiture, the painting remains mysterious and full of ambiguities. More than three hundred and fifty years after she was painted - Rembrandt's ability to conjure up the sense of a living being out of paint can still astound, while the warmth and humanity in the girl's unsentimental gaze continues undiminished. Cleaning also permitted a clearer appreciation of Rembrandt's confident sweeps of the brush and thickly applied 'impasto' paint (see, for example, the smeared areas laid on around the girl's left eye and temple)."

 

百度翻译:http://fanyi.baidu.com

 

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