愛(ài)藝

In this masterpiece of the painting of Light， we have the happiest qualities of a bright summer day in Paris. How wonderfully Renoir has caught the vibrant many-sidedness of the city！ In a most extraordinary way we are made to sense the large and simple compositional structure of the canvas， while at the same time we see the multitude of little details and contrasts of color and shape. The world is made of spots： buildings， windows， chimneys， flags， vehicles， statues， people; it is made of sky and clouds， light and air， of stone and water and foliage.

Despite the illusion of dazzling light， the picture is cool in tonality， even in the glare of the street. Yet within this larger simplicity， the whole palette is engaged： the yellows， reds， blues， violets， greens， blacks， and whites. There is an incredible richness of hue in every section： a good example is the varied blues of the bridge structure in the lower right.

The picture is divided into three big regions， each with its distinctive color， silhouette， and type of variation. The sky—a light zone—is spotted with irregular clouds， finely graded as to size， shape， and luminosity. The architectural mid-zone is the darkest： on the left a complicated grid of beautifully varied horizontal and vertical lines; to the right the broader elements of bridge and water， with strong diagonals leading to the extreme lower right corner. The lowest zone， the street， is the lightest of all， and here the promenaders and their shadows， scattered and free， repeat the verticals and diagonals of the mid-zone. If the reader will turn the picture upside down， many of these relationships will appear more clearly.

Renoir daringly makes the ground much whiter than the sun-drenched sky; he deliberately accepts the glare in his eyes to paint what is perhaps one of the first realistically back-lighted landscapes in the history of art. He creates heat through coolness， the chaos of a busy street through order， and under his brush the grimy commonplaces of the city sparkle like jewels.

在這幅描繪“光”的杰作中，我們感受到巴黎明媚夏日最幸福的時(shí)光。雷諾阿如此精妙地捕捉到了這座活力城市的多面性！畫(huà)作以一種非常特別的方式讓我們感知畫(huà)面宏大而簡(jiǎn)單的構(gòu)圖，與此同時(shí)，我們看到大量微小的細(xì)節(jié)及色與形的對(duì)比。世界由斑點(diǎn)組成：建筑物、窗戶、煙囪、旗幟、車(chē)輛、雕像、人。世界也由天空和云彩，光線和空氣，石料、河水和植被組成。

盡管耀眼的日光會(huì)讓人產(chǎn)生熱的錯(cuò)覺(jué)，但整幅畫(huà)的色調(diào)是冷色，即使光照眩目的大街也是如此。然而，這種大幅的簡(jiǎn)單呈現(xiàn)卻也色彩繽紛：黃紅藍(lán)紫綠黑白，同一種顏色深淺不一。每個(gè)局部的色彩都極其豐富：右下角不同藍(lán)色的橋身就是很好的例子。

畫(huà)面分為三大區(qū)域，每個(gè)區(qū)域各具特色，顏色、輪廓和變化各不相同。明亮的天空區(qū)點(diǎn)綴著精細(xì)描繪的不規(guī)則云朵，大小不同、形狀各異、明暗不一。中間的建筑區(qū)最暗：左邊，長(zhǎng)長(zhǎng)短短的橫線和豎線協(xié)調(diào)搭配，構(gòu)成復(fù)雜的網(wǎng)格狀建筑群;右邊，橋和水占據(jù)略寬的畫(huà)幅，陡直的斜線直抵右下角。最下的街道區(qū)最亮，行人和他們的影子四下散布，毫無(wú)規(guī)則，依然由中間區(qū)域的豎線和斜線構(gòu)成。如果觀畫(huà)者將此畫(huà)倒置，這些元素的很多關(guān)系會(huì)顯現(xiàn)得更清楚。

雷諾阿將大地描繪得比陽(yáng)光明媚的晴朗天空更白，此舉可謂大膽。他有意頂著耀眼的陽(yáng)光創(chuàng)作，此畫(huà)或許是美術(shù)史上最早的寫(xiě)實(shí)主義背光風(fēng)景畫(huà)之一。他通過(guò)冷色營(yíng)造熱的氛圍，通過(guò)有序的線條表現(xiàn)繁亂的街道，在他的畫(huà)筆下，巴黎塵垢之下的凡塵俗世竟如寶石般熠熠生輝。 ? ? □