意象油画作品赏析（油画中的海王概念）

意象油画作品赏析（油画中的海王概念）阿诺德·博克林Arnold Böcklin（1827年10月16日至1901年1月16日）Arnold Böcklin was a Swiss symbolist painter.除了对古典世界极具想象力以及奇异的理解，勃克林还善于描绘神秘的风景，偶尔会出现一个孤独的人物。这些令人印象深刻的作品使他成为国际象征主义运动的重要贡献者。In addition to imaginative bizarre interpretations of the Classical world Böcklin painted mysterious landscapes punctuated by an occasional lone figure. These haunting later works made him an important contributor to the internatio

本期欣赏阿诺德·博克林Arnold Böcklin（1827年10月16日至1901年1月16日）的画作“海王”In The Sea。

关于作品

In the Sea 是博克林的一系列神话题材画作的一部分，展现了令人惶恐的朴实现实主义。美人鱼和“海王”特里同斯在水中嬉戏，精力刻画地非常充沛。占据画作中心的是一位正在弹奏竖琴的“海王”。三条美人鱼像树懒一样依附在他宽大的身躯上；靠近他肩膀的绿裤金发美人鱼似乎把自己完全倾轧在他身上。与此同时，作品的热闹感被海中不祥的倒影以及右侧从水中冒出的大耳朵“憨憨怪”所对冲。

In the Sea part of a series of paintings of mythological subjects displays an unsettling earthy realism. Mermaids and tritons frolic in the water with a lusty energy and abandon verging on coarseness. Occupying the center of the composition is a harp-playing triton. Three mermaids have attached themselves to his huge frame as if it were a raft; the one near his shoulder seems to thrust herself upon him. The work’s sense of boisterousness is tempered by the ominously shaped reflection of the triton and mermaids in the sea and by the oddness of the large-eared heads that emerge from the water at the right.

浪里“浪”Playing in the Waves 1883

除了对古典世界极具想象力以及奇异的理解，勃克林还善于描绘神秘的风景，偶尔会出现一个孤独的人物。这些令人印象深刻的作品使他成为国际象征主义运动的重要贡献者。

In addition to imaginative bizarre interpretations of the Classical world Böcklin painted mysterious landscapes punctuated by an occasional lone figure. These haunting later works made him an important contributor to the international Symbolist movement.

关于作者

阿诺德·勃克林（1827年10月16日至1901年1月16日）是瑞士象征主义画家。

Arnold Böcklin was a Swiss symbolist painter.

阿诺德·博克林Arnold Böcklin（1827年10月16日至1901年1月16日）

他出生在巴塞尔。他的父亲克里斯蒂安·弗雷德里克·勃克林 (Christian Frederick Böcklin，生于 1802 年) 出身于沙夫豪森的一个古老家庭，从事丝绸贸易。他的母亲乌苏拉·利佩 (Ursula Lippe) 和父亲出生于同一个城市。

He was born at Basel. His father Christian Frederick Böcklin (b. 1802) was descended from an old family of Schaffhausen and engaged in the silk trade. His mother Ursula Lippe was a native of the same city.

Venus Anadyomene 1872

年少时的阿诺德跟随席尔默在杜塞尔多夫学院学习。席尔默认出他是一位才华横溢的学生，将他送到安特卫普和布鲁塞尔，在那里他临摹了佛兰德和部分荷兰大师的作品。勃克林随后前往巴黎，在卢浮宫工作，并创作了几幅风景画。

Arnold studied at the Düsseldorf academy under Schirmer. Schirmer who recognized in him a student of exceptional promise sent him to Antwerp and Brussels where he copied the works of Flemish and Dutch masters. Böcklin then went to Paris worked at the Louvre and painted several landscapes.

Boecklin_Ruggiero freeing Angelica，1873

在军队服役后，勃克林于 1850 年 3 月动身前往罗马。在罗马，他于1853年与安吉拉·罗莎·洛伦扎·帕斯库奇结婚。罗马的许多景点对他的思想产生了新的刺激。这些新的影响将寓言和神话人物带入了他的作品中。 1856 年，他回到慕尼黑，并在那里呆了四年。

After serving his time in the army Böcklin set out for Rome in March 1850. At Rome he married Angela Rosa Lorenza Pascucci in 1853. The many sights of Rome were a fresh stimulus to his mind. These new influences brought allegorical and mythological figures into his compositions. In 1856 he returned to Munich and remained there for four years.

生命之岛The Island of Life (Die Lebensinsel) 1888

受浪漫主义的影响，他的画是象征主义的，其神话主题作品经常与前拉斐尔派有所重合。他的作品经常描绘出古典建筑中神话般的奇幻人物（通常表现出对死亡的痴迷），创造了一个奇怪又奇幻的世界。

Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites. His pictures portray mythological fantastical figures along classical architecture constructions (often revealing an obsession with death) creating a strange fantasy world.

隐士The Hermit 1884

勃克林最出名的是他的五个版本的《死亡之岛》（绘制于 1880 年至 1886 年），作品灵感大概来自佛罗伦萨的英国公墓，一个靠近他的工作室和他的小女儿玛丽亚被埋葬的地方。这幅画的早期版本的来源是受到一位叫伯纳的寡妇委托，她要求勃克林创作一幅具有梦幻氛围的画作。

Böcklin is best known for his five versions (painted in 1880-1886) of Isle of the Dead which partly evokes the English Cemetery Florence close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna a widow who wanted a painting with a dream-like atmosphere.

死亡之岛Isle of the Dead ("Die Toteninsel")

20世纪初，《死亡之岛》的印刷品在中欧非常流行，弗拉基米尔·纳博科夫（Vladimir Nabokov）在其1936年的小说《绝望》中写到，他的印刷品“在柏林的每个家庭都能找到”。

Prints were very popular in central Europe in the early 20th century—Vladimir Nabokov observed in his 1936 novel Despair that they could be "found in every Berlin home".

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