卡米耶·毕沙罗全部影视作品
首发于 qinglite.cn，统计截止日：2025-01-03
 蒙马特大道 | - |
| 艾尔米塔什的森林，蓬图瓦兹 | 毕沙罗画这幅不朽的风景画时，他穷得要命，还在为卖画而挣扎。这幅画描绘的是一个男人在阳光斑驳的偏远地区的隐士村(Hermitage)睡觉。隐士村是庞图瓦兹(Pontoise)附近的一个乡村，自1872年起，画家就住在这里。毕沙罗把他的调色板限制在纯色调上，用笔触画出系统的对角线图案，他把这种效果比作编织。这幅油画曾在1879年的第四届印象派画展上展出。 |
| 猪肉屠夫 | 就像《乡下女仆》一样，这幅画是在画家居住在巴黎西北的蓬图瓦兹附近时完成的。 19世纪80年代，他开始对描绘农村市场场景感兴趣，其中有几幅画是以蓬图瓦兹及其邻近村庄的市场为蓝本的。这样的题材使毕沙罗能够把对人物形象的研究与对日常乡村生活的户外场景的描写结合起来。 尽管他在给儿子吕西安的信中说，他希望这幅画有一种“某种天真的清新感”，因此使用了轻松和非正式的笔触，但“charcutiere”的中心人物是从模特身上画出来的，其姿势也经过了仔细研究。 |
| 蒙马特大街一个冬天的早晨 | 毕沙罗《蒙马特大街》以高视点，洞察了清晨繁忙的蒙马特街景。后退的林荫道，两侧的行人和建筑，构成简单而强烈的构图与透视感。草图般的笔触，点彩派的技法，加之淡雾弥漫的冬日效果，使画作在珍珠般柔和的质感之上，营造出强烈的喧嚣动感。 |
| 夜晚的蒙马特大道 | - |
| 画家在伊拉格尼的花园 | - |
| 红屋顶 | 毕沙罗是始终如一的印象派画家，是印象派的先驱，有印象派“米勒”之称。毕沙罗的作品大多描绘农村及城市风景，也描绘农民的劳动生活。 完成于1877年的《红屋顶》，在这幅画中充分体现了毕沙罗对深沉厚重的土地与简单纯朴的农民的热爱，画面充满了温暖色调，明媚的风景跃然于上。冬日散落的落叶与树并非画面的主角，前后参差地掩映着鲜艳的红屋顶，在未化尽的薄薄的积雪的映衬下，显得更加艳丽、纯净。虽然描绘的是冬日，但毕沙罗运用了大量暖色调：橘黄、红色和土色，在少量绿色、浅蓝色和紫色的映衬之下，显得异常明亮。充分变现出午后阳光照耀下的冬日氛围。 与其他印象派画家一样，他的作品同样受日本艺术所影响。他以明亮的色彩和颤动的笔触来表现当代的风景。他的画风朴实，作为印象派画家，他把注意力集中在所画风景的光线以及色调浓淡的变换上。 |
| 在蓬图瓦兹冬宫附近的森林边缘， | Pissarro painted this monumental landscape when he was desperately poor and struggling to sell his paintings. It depicts a man slumbering in the sundappled backwoods of the Hermitage, a rural village near Pontoise, where the artist had been living since 1872. Restricting his pallette to pure hues, Pissarro applied brushstrokes in systematic diagonal patterns, producing an effect that he likened to knitting. This canvas was included in the fourth Impressionist exhibition of 1879. |
| 蓬图瓦兹的锁 | This depiction of a lock on the river Oise is one of four such compositions inspired by the area of Pontoise, a village north of Paris. Pissarro moved to Pontoise after he returned from England following the Franco-Prussian War (1870-71). The ten years he stayed there were not only his most prolific, but also saw the height of his artistic talents. It was also in Pontoise that Pissarro worked with Edgar Degas (1834-1917), Mary Cassatt (1845-1926), and Paul Cézanne (1839-1906). Pissarro's influence on Cézanne was especially important, as Pissarro encouraged him to paint en plein air, or outdoors. As a painter, Pissarro pursued many of the same goals as the Impressionists and exhibited with them from 1874 onward. However, the group is far from being unified stylistically, and there were many differences among its members. In contrast to other Impressionists, Pissarro was interested in darker tonalities, especially blues, greens, and browns. The more sober colors of his paintings suggest his debt to the earlier French artist Gustave Courbet (1819-1877). |
| 鲁昂达米埃塔街 | - |
| 犁 | - |
| 保罗·塞尚 | - |
| 板栗小贩 | Pissarro was essentially a landscape artist, and the majority of his prints were landscapes with peasant figures. These images never showed workers exhausted by their labors, for Pissarro was primarily interested in conveying the pleasantness of the countryside and simple, rural life. In this scene of the Chestnut Vendor, the placing of figures in the foreground reflects the flat design and two-dimensional concept of space characteristic of the Japanese art that was influencing many French artists at the time. |
| 农民搬柴 | - |
| 修理工 | Unlike Cassatt and Degas, Pissarro eschewed the city and the bourgeoisie for much of his career, instead making the countryside and its inhabitants the subject of his art. His marriage in 1871 to Julie Vellay, the daughter of poor peasants, and their life of financial struggle with eight children in the small village of Pontoise, made him sympathetic to the hardships of rural life. He frequently depicted women sewing, often outdoors, or seated beside a window, as seen here. The effect of natural light illuminating his subject, as indicated by the notation "lumière" at the left margin of the drawing, was an essential aspect of Pissarro’s Impressionist style. The quiet solitude of his peasant working close to nature makes an interesting comparison with Cassatt’s Knitting in the Library, a portrait of her bespectacled, well-to-do mother in a comfortably appointed interior. |
| 在蓬图瓦兹冬宫的森林景观 | Camille Pissarro, a painter fascinated by color, was also a superb printmaker. The richness and inventiveness of his technical vocabulary enabled him to create prints that fully reflected his painterly goals. This skill is particularly evident in Wooded Landscape at l’Hermitage, Pontoise, a landscape that, like so much of his work, conveys the pleasantness of the countryside and simple, rural life. In 1879, Pissarro met Edgar Degas who introduced him to inventive and unorthodox printmaking techniques. Degas conceived of the idea of publishing a journal of original prints, Le Jour et la nuit, and although this project failed, Pissarro produced Wooded Landscape for it. Inspired by Degas’s experimental attitude, Pissarro combined soft-ground etching and aquatint to describe the scene in layers of tone. While the subtle gradations of black and white produce an overall luminosity, the patterns created by interwoven tree trunks and branches, and the variety of printed textures, suggest a rippling movement. |
| 蒙马特大道，午后阳光 | 画作《蒙马特大街》是画家毕沙罗创作于1897年的一幅油画。现由埃尔米塔日博物馆珍藏。这是一幅蒙马特大街的全景图，街道两侧尽收画面，人群流动，车水马龙，由于视角宽广，楼房林立，车马人流很小，只能凭感觉用粗笔点画出来，然而显得特别生动，加之透视准确，画中车马人流仿佛在画中移动，它描绘了现代都市的繁忙热闹场面。在这幅油画上，构图宏伟，街景庄严而有气派；色彩丰富柔和，在冷暖色对比中，充满中间调子的过渡，形成一种细致而变化丰富的灰调子，但却很明亮，它显示着光的饱满，其笔触均匀而不失活泼变化，粗犷与细致融为一体，表现出画家毕沙罗特有的艺术风格。 |
| 伊拉格尼放牛郎 | This drawing of a peasant girl seen from the back with her bodice cinched at the waist was a study for a figure who appeared in an oil painting, Vachère à Eragny, 1886, and later in a watercolor of a fan painted in 1890. In a letter to his son, Pissarro mentioned being particularly pleased with the figure. |
| 农民妇女手拿水桶 | - |
| 伊拉格尼干草人 | - |
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