莫瑞泰斯皇家美术馆收藏的油画包括荷兰油画家扬·弗美尔的《戴珍珠耳环的少女》The Girl With The Pearl Earring (ca. 1665) （荷蘭語：Het meisje met de parel）
In 2006, the Dutch public selected it as the most beautiful painting in the Netherlands. In 2012, as part of a traveling exhibition while the Mauritshuis was being renovated and expanded, the painting was exhibited in Japan at the National Museum of Western Art, Tokyo, and in 2013–2014 the United States, where it was shown at the High Museum in Atlanta, the de Young Museum in San Francisco and in New York City at the Frick Collection. Later in 2014 it was exhibited in Bologna, Italy. In June 2014, it returned to the Mauritshuis museum which stated that the painting would not leave the museum in the future. (en.wikipedia.org/Girl with a Pearl Earring)
日常生活是斯特恩的主要绘画题材。他画的许多风俗场面，比如《你听到的》意译为《上梁不正下梁歪》（英語：As the Old Sing, So Pipe the Young），其活泼热烈已达到混乱和淫荡的地步。由此而来的荷兰语谚语een huishouden van Jan Steen即“一个扬·斯特恩家庭”意为一个混乱的场景。他画中微妙的暗示看来表示斯特恩旨在提醒观众，而并非请他仿效这种行为。斯特恩的许多油画都和老的荷兰谚语或文学有关。他经常用他的家庭成员作模特，但他的自画像却很少，在自画像里他也丝毫不显虚荣。(zh.wikipedia.org/扬·斯特恩)
《你听到的》这幅画我个人认为很有扬·斯丁的风格，他的作品大多是用一种戏谑和轻松幽默的方式来表达态度与观点；整个作品是丰富且动态的，像一出戏剧。比如这幅画取名于荷兰当地的一句谚语，英文是“As the old sing, so the pipe young", 用咱们中国的话说叫作”有样学样“。比如画中举起酒杯的女性穿着暴露，坐姿随意，老人在唱着歌，其中一个拿着烟斗的男子在逗他的孩子抽烟，站在他身后的男孩子吹着管。扬·斯丁想表达的是孩子会跟着大人有样学样，如果大人不注意言行，下一代会跟着学。有趣的是，拿着烟斗的那个男子就是作者扬·斯丁。他本人也解释道，他不是一个守规矩的人，平时的生活就是比较随意快乐的，所以他的作品也大部分是用这样的方式传达信息。(画作背后的故事- 知乎)作者: ngsunyu 时间: 2020-1-7 09:59 本帖最后由 ngsunyu 于 2020-1-10 04:55 编辑
荷兰国父 威廉一世，奥兰治親王（荷蘭語：Willem I，也称沉默者威廉（荷蘭語：Willem de Zwijger）、奥兰治的威廉（荷蘭語：Willem van Oranje），1533年4月24日－1584年7月10日）。奥兰治的威廉是尼德兰革命中反抗西班牙哈布斯堡王朝统治的主要领导者、八十年战争领导人之一。曾任荷兰共和国第一任執政。
原为奥兰治亲王（荷蘭語：Prins van Oranje）；1565年组织“贵族同盟”，反对哈布斯堡家族的西班牙国王腓力二世对尼德兰的统治；后来逃亡德意志，招募佣兵，多次反攻尼德兰，都遭失败；1572年北方大起义后，8月在尼德兰北方各行省會議上被推选为多省的執政；1584年遭西班牙间谍刺杀身亡。(zh.wikipedia.org/威廉一世(奥兰治)
莫瑞泰斯皇家美术馆收藏的油画包括荷兰油画家扬·弗美尔的《代尔夫特风景》（荷蘭語：Gezicht op Delft) 。
台尔夫特風景（荷蘭語：Gezicht op Delft）是一幅由荷蘭黃金時代畫家揚·弗美爾繪成于1660年至1661年閒的油畫。台尔夫特即是畫家的出生地，這幅作品也是畫家已知的三幅台尔夫特風景畫之一，其他兩幅為《小街》和《台尔夫特的房屋》（已遺失）。
弗美爾在創作這幅作品時僅用了有限的幾種顔料，主要是鉛白、赭石黄、群青和茜草紅，然而即使如此他仍然繪聲繪色地描繪出了台夫特的景致。(zh.wikipedia.org/台夫特風景)
扬·弗美尔的《代尔夫特风景》（荷蘭語：Gezicht op Delft) 画中的新教堂（荷蘭語：Nieuwe Kerk）。
The landscape was painted from an elevated position to the southeast of Delft, possibly the upper floor of a house on the quayside across the river Schie. The artist is looking back to the city to the northwest, with the Schiedam Gate [nl] in the middle of the composition, and the Rotterdam Gate [nl] and its barbican to the right, all reflected in the water of the harbour created in 1616–1620. Behind the Schiedam Gate is the long red-roofed arsenal (the Armamentarium).
It is a morning scene, with the sun to the east (viewer's right) illuminating the Protestant Nieuwe Kerk ("New Church", right of centre) before its bells were replaced in 1660. The New Church in Delft is the burial place of William the Silent and other members of the House of Orange-Nassau. (en.wikipedia.org/View of Delft)
新教堂（荷蘭語：Nieuwe Kerk）坐落于代尔夫特市场广场（Markt），面对着代尔夫特市政厅。1584年，荷兰国父沉默者威廉(请参考第六楼) 被埋葬于此处的一座由亨德里克·德·凯泽（Hendrick de Keyser）与彼得·德·凯泽（Pieter de Keyser）设计的陵墓中。从那以后，奥兰治-拿骚家（House of Orange-Nassau）的成员便都葬于该教堂的皇家教堂地下室（royal crypt）中。最近葬于此的是2004年朱麗安娜女王及其丈夫貝恩哈德亲王。这座私人的皇室教堂地下室不对公众开放。(zh.wikipedia.org/新教堂 (代尔夫特) 作者: ngsunyu 时间: 2020-1-10 04:59
扬·弗美尔的《代尔夫特风景》（荷蘭語：Gezicht op Delft) 画中的老教堂（荷蘭語：Oude Kerk）。
To the left is the tower the "De Papegaey" (Parrot) brewery (since demolished) and, to its left, the top of the tower of the Oude Kerk ("Old Church"). Some barges are drawn up on the quayside, with a few people passing by. The top half of the painting is dominated by a cloudy sky, with a dark cloud suggesting a rain shower has just passed. (en.wikipedia.org/View of Delft)
The painting, showing a quiet street, depicts a typical aspect of the life in a Dutch Golden Age town. It is one of only three Vermeer paintings of views of Delft, the others being View of Delft and the now lost House Standing in Delft.
In 2015, archival research based on the city's quay dues register, which gives detailed measurements of all houses and passageways along the canals of Delft at the time, has resulted in the conclusion that the site is the Vlamingstraat, a street with a narrow canal, at the present-day numbers 40 and 42. The research also found that the property on the right in the painting belonged to Vermeer’s aunt, Ariaentgen Claes van der Minne. She had a business selling tripe, and the passageway beside the house was known as the Penspoort, or Tripe Gate. Vermeer’s mother and sister also lived on the same canal, diagonally opposite.
In 2017, this apparently sound conclusion was disputed by art historians Gert Eijkelboom and Gerrit Vermeer in the Dutch Journal of Historical Geography (Tijdschrift voor historische geografie). Their argumentation is essentially founded in the assertion that the painting does not depict an actual place, and thus cannot be accurately located. The authors said: "We do not know whether the question will ever be answered, because it seems that Vermeer's world-famous work is an allegorical representation, which he compiled from various elements and places." (en.wikipedia.org/The Little Street) 作者: ngsunyu 时间: 2020-1-12 17:07 本帖最后由 ngsunyu 于 2020-1-12 17:08 编辑
This cheerfully laughing boy with sparkly eyes and dishevelled hair is not a portrait, but a ‘tronie’ – a study of a laughing child. Laughing figures are unusual, as laughter is one of the most difficult expressions to capture. The virtuoso Hals painted the boy very directly and spontaneously, using remarkably loose brushstrokes. And yet he knew exactly what he was doing. The bridge of the boy’s nose, for example, is painted with a single well-placed stroke of white. (Mauritshuis.nl) 作者: ngsunyu 时间: 2020-1-14 04:59
弗兰斯·哈尔斯(Frans Hals)是荷兰黄金时代伟大的大师之一。他的肖像画和“schutterstukken”(公民警卫群体肖像画)是世界闻名的。与他同时代的画家相比，他的风格是宽松而活泼的。他的大画笔绘画几乎带给他的画生命力。(Holland.com)
Operation Night Watch will look at questions regarding the original commission, Rembrandt’s materials and painting technique, the impact of previous treatments and later interventions, as well as the ageing, degradation and future of the painting. This will involve the newest and most advanced research methods and technologies, including art historical and archival research, scientific and technical research, computer science and artificial intelligence.
During the research phase The Night Watch will be unframed and placed on a specially designed easel. Two platform lifts will make it possible to study the entire canvas, which measures 379.5 cm in height and 454.5 cm in width.
Researchers will make use of high resolution photography, as well as a variety of advanced imaging techniques, such as macro X-ray fluorescence scanning (macro-XRF) and hyperspectral imaging, also called infrared reflectance imaging spectroscopy (RIS), to accurately determine the condition of the painting.
Researchers will make use of high resolution photography, as well as a variety of advanced imaging techniques, such as macro X-ray fluorescence scanning (macro-XRF) and hyperspectral imaging, also called infrared reflectance imaging spectroscopy (RIS), to accurately determine the condition of the painting.
A total of some 12,500 photographs will be taken at extremely high resolution, from 180 to 5 micrometres, or a thousandth of a millimetre. Never before has such a large painting been photographed at such high resolution. In this way it will be possible to see details such as pigment particles that normally would be invisible to the naked eye. The cameras and lamps will be attached to a dynamic imaging frame designed specifically for this purpose. (rijksmuseum.nl) 作者: ngsunyu 时间: 2020-1-19 02:20 本帖最后由 ngsunyu 于 2020-1-24 12:28 编辑
The Sampling Officials (Dutch: De Staalmeesters), also called Syndics of the Drapers’ Guild, is a 1662 oil painting by Rembrandt. It is currently owned by the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".
The men (with the exception of Bel who is an attendant as indicated by his calotte) are drapers who were elected to assess the quality of cloth that weavers offered for sale to members of their guild. Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly. The Dutch word staal means 'sample' and refers to the samples of cloth that were assessed. The inspectors used pliers to press the seals of their city (front) and guild (reverse) into penny-sized slugs of lead that were specially affixed to record the results of the inspection.[3] There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one.
The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are (from left to right):
Jacob van Loon (1595–1674)
Volckert Jansz (1605 or 1610–1681)
Willem van Doeyenburg (ca. 1616–1687)
Frans Hendricksz Bel (1629–1701)
Aernout van der Mye (ca.1625–1681)
Jochem de Neve (1629–1681)
The guild commissioned this portrait and it hung in their guildhall, the Staalhof (nl), until 1771. (en.wikipedia.org/Syndics of the Drapers' Guild)
After suffering financial difficulties in the 1650s, Rembrandt moved to a rental house on the Rozengracht. The Amsterdam élite no longer knocked on his door as often as they had done before. He nevertheless remained popular: this important guild commissioned him to paint a group portrait. Rembrandt produced a lively scene by having the wardens look up from their work as if interrupted by our arrival. (rijksmuseum.nl)
Rembrandt is 55 years old in this self-portrait, and he still looks at himself candidly. Here he assumes the guise of a personage from the Bible, the Apostle Paul. The sword protruding from his cloak and the manuscript in his hands are the apostle’s customary attributes. By using his own face, Rembrandt encouraged the viewer to engage personally with the saint. (rijksmuseum.nl)
The Dutchman depicts himself as an apostle wearing a turban and holding a book. Like de Acedo, he turns from the pages in his hands to look out at the viewer. He appears puzzled and perhaps somewhat skeptical. You’re drawn in by the chiaroscuro — by what slips into shadow, toward the unknowable — but also by the paint’s rich textures, which are picked out by localized light.
Rembrandt’s raised eyebrow rhymes with the wobbly wrinkles streaking his forehead, and those in turn rhyme with the folds and pleats of his tightly wound turban. The cloth feels taut, secure; the flesh beneath oily, blotchy, deliquescent. (WashingtonPost.com/Buried deep in a disappointing Rembrandt and Velázquez show are two portraits that demand to be seen by Sebastian Smee)
In 1634, Rembrandt married Saskia Uylenburgh. They had a son, Titus, in 1641. Then a year later Saskia died.
Titus van Rijn (22 September 1641 – 4 September 1668) was the fourth and only surviving child of Rembrandt Harmenszoon van Rijn and Saskia van Uylenburgh. Titus is best known as a figure or model in his father's paintings and studies. (en.wikipedia.org/Titus van Rijn)
The boy, who sits staring ahead, is lost in thought. His thumb presses against his chin. There are some papers on the desk, and he holds a pen in his right hand and a pen case in his left. That this is a portrait of Rembrandt’s son, Titus, is not in doubt. An important clue to this is that there are several other paintings by Rembrandt from the same period that unmistakably show the same boy. There is, moreover, a strong similarity between this work and the portrait etching of a boy by Rembrandt, which a seventeenth-century source tells us is of Titus. In the print, Titus wears a beret just like the one in the painting. (rembrandthuis.nl) 作者: ngsunyu 时间: 2020-1-22 00:56 本帖最后由 ngsunyu 于 2020-1-22 00:59 编辑
To prevent being killed and having his wife captured by King Abimelech, Isaac concealed his love for Rebecca by pretending they were brother and sister. However, their intimacy betrayed them when they thought they were not being spied on. Rembrandt depicts them in a tender moment. Furthermore, he works with exceptional freedom, applies the paint thickly, and scratches into it with the butt end of his paintbrush. (rijksmuseum.nl) 作者: ngsunyu 时间: 2020-1-23 01:05 本帖最后由 ngsunyu 于 2020-1-23 01:07 编辑
From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection. 作者: ngsunyu 时间: 2020-1-23 01:08 本帖最后由 ngsunyu 于 2020-1-23 01:10 编辑
From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection.作者: ngsunyu 时间: 2020-1-24 01:51 本帖最后由 ngsunyu 于 2020-1-25 05:08 编辑
两个画展时间不重叠，我们错过了国家博物馆的伦勃朗画展《All the Rembrandts》因为卢浮宫的达·芬奇画展更重要。
From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection. (rijksmuseum.nl)
在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。
Of the many exhibitions celebrating the Dutchman this year, “Rembrandt-Velázquez: Dutch and Spanish Masters” at the Rijks-museum in Amsterdam promised to be the best. The Rijksmuseum owns the most Rembrandts (it put all of them on its walls earlier in the year). And its partner on this show, the Prado (celebrating its own 200th anniversary), owns the most paintings by Velázquez. The prospect of these fabled institutions joining forces on a two-for-one of this caliber was as tantalizing as any of the year’s monographic anniversary exhibitions. (WashingtonPost.com)
这幅画是从西班牙的瓦倫西亞美術館（華倫西亞語：Museu de Belles Arts de València；西班牙語：Museo de Bellas Artes de Valencia）借来的1640年委拉斯开兹《自画像》。作者: ngsunyu 时间: 2020-1-25 04:45 本帖最后由 ngsunyu 于 2020-1-28 01:35 编辑
在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。这幅画是从西班牙馬德里的普拉多博物館借来的1630年委拉斯开兹《火神的熔爐, 西班牙語： Apolo en la Fragua de Vulcano》。 The painting depicts the moment when the god Apollo, identifiable by the crown of laurel on his head, visits Vulcan, who is found making weapons for war. The god Apollo tells Vulcan that his wife, Venus, is having an affair with Mars, the god of war. For this reason, the other figures in the room are looking in surprise at the god who has just appeared before them, some of them even opening their mouths to indicate surprise. (en.wikipedia.org/Apollo in the Forge of Vulcan)
为什么阿姆斯特丹国家博物馆沒有借到《宫娥》？ 因为《宫娥》是普拉多博物館的 镇馆之宝。加上今年庆祝普拉多博物馆成立200周年。有关《宫娥》详细信息，请参考 普拉多博物馆 (西班牙语：Museo Nacional del Prado) 成立200周年 第十九楼。
后来我发现 本·卢克（Ben Luke）和我有相同的看法。
One unites one of Velázquez’s breakthrough paintings, made on his first visit to Italy, Vulcan’s Forge (1630) with Rembrandt’s The Syndics (1662) as evidence of their prowess in multi-figure compositions. But while each is a masterpiece of psychology and technique, as a pair they fall flat—Velázquez’s figures are full-length, semi-naked, thronging with Italian classical movement and mythological imagination; Rembrandt’s are seated at a table, austerely dressed, restrained in countenance, despite their evident human warmth. Perhaps a far more instructive companion for The Syndicswould have been Las Meninas, but, of course, Velázquez’s masterwork will never travel. (excerpts from Rembrandt-Velázquez: a match made in curatorial heaven by Ben Luke in the art newspaper) 作者: ngsunyu 时间: 2020-2-1 00:39 本帖最后由 ngsunyu 于 2020-2-1 00:43 编辑
这幅画是从西班牙馬德里的普拉多博物館借来的1644年《宫廷小丑El Primo的肖像, 西班牙語： El bufón el Primo》。在1630年代和1640年代，委拉斯开兹创作了一系列矮人和小丑的肖像。通过微不足道的身影，画家看到了这些人的复杂精神世界，被剥夺了自然。他描绘了一个没有阴影的嘲笑，简洁明了，他揭示了他们的人物，心态，经历世界，达成悲伤的悲剧。高清晰的额头，聪明的眼睛着迷，让你看着小丑的非凡面孔。绰号”El Primo”的意思是”堂兄”。也许矮人是委拉斯开兹的亲戚，或者也许这个名字出现是因为小丑特权不在国王面前脱帽，只允许最高贵族的代表，他们的国王称为”表兄弟”。(cn.painting-planet.com)
几年前，当我参观普拉多博物馆时，摄影是被禁止的。
The Buffoon El Primo 1644. Oil on canvas Not on display
The chromatic complexity, fluid brushstroke, location of the sitter in an undefined space and his direct gaze make this one of the portraits of dwarves by Velázquez that most directly connects with the viewer. Traditionally thought to depict Sebastián de Morra, the subject has recently been identified as the court buffoon El Primo who accompanied Philip IV to Aragon in 1644 where Velázquez painted him. 作者: ngsunyu 时间: 2020-2-9 06:02
《倒牛奶的女僕》（荷蘭語：De Melkmeid或Het Melkmeisje）是一幅由荷蘭黃金時代畫家揚·弗美爾繪成的油畫，主題是一名倒牛奶的廚房女僕。此畫現藏於阿姆斯特丹國家博物館，是镇馆之宝之一。(zh.wikipedia.org/倒牛奶的女僕)
A maidservant pours milk, entirely absorbed in her work. Except for the stream of milk, everything else is still. Vermeer took this simple everyday activity and made it the subject of an impressive painting – the woman stands like a statue in the brightly lit room. Vermeer also had an eye for how light by means of hundreds of colourful dots plays over the surface of objects. (Rijksmuseum.nl)作者: ngsunyu 时间: 2020-2-10 00:15 本帖最后由 ngsunyu 于 2020-2-10 00:17 编辑
《读信的蓝衣女人》（荷蘭語：Brieflezende vrouw in het blauw）是一幅由荷蘭黃金時代畫家揚·弗美爾繪成的油畫。此畫現藏於阿姆斯特丹國家博物館。
Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light. She is still wearing her blue night jacket. All of the colours in the composition are secondary to its radiant lapis lazuli blue. Vermeer recorded the effects of light with extraordinary precision. Particularly innovative is his rendering of the woman’s skin with pale grey, and the shadows on the wall using light blue. (Rijksmuseum.nl)作者: ngsunyu 时间: 2020-2-11 01:42 本帖最后由 ngsunyu 于 2020-2-21 06:11 编辑
Vermeer chose an unusual vantage point for this painting. From a dim space in the foreground, a glimpse is afforded of another room with a domestic scene. An elegantly dressed woman looks up expectantly at a maidservant, who has just handed her a letter. The seascape on the wall behind them may well allude to the epistle’s subject: during the 17th century, the sea was often compared to love, and the lover to a ship. (rijksmuseum.nl) 作者: ngsunyu 时间: 2020-2-12 18:44 本帖最后由 ngsunyu 于 2020-2-12 19:25 编辑
《混血儿》，（荷蘭語： Mulatto ) 是一幅由荷蘭黃金時代畫家弗兰斯·哈尔斯绘于1627年的油畫。此畫現藏於德国莱比锡（德語：Leipzig) Museum der bildenden Künste。阿姆斯特丹国家博物馆借来展于伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。
The star of 17th-century comic plays, Mr. Peeckelhaering was a comic actor who was the subject of two paintings by Frans Hals. 作者: ngsunyu 时间: 2020-2-12 18:45 本帖最后由 ngsunyu 于 2020-2-15 02:02 编辑
This militiaman merrily raises his glass to toast us – who would not wish to join him? The execution is just as free and easy as the sitter himself: the swift, spontaneously applied brushstrokes enhance the portrait’s sense of liveliness and animation. The man actually seems to be moving. This bravura painting style ensured the continued success of Frans Hals. (Rijksmuseum.nl)作者: ngsunyu 时间: 2020-2-15 01:54 本帖最后由 ngsunyu 于 2020-2-15 01:57 编辑
The feast of St Nicholas takes place in December. In the Netherlands, it has been celebrated in the same way for centuries. Good children receive gifts from the saint. The little girl in the foreground, for instance, has a bucket full of treats. Naughty children, like the wailing boy at the left, get only a switch (a bundle of twigs) in their shoe. Jan Steen was a born storyteller. He succeeded in incorporating all of the elements of the popular feast in this picture. (Rijksmuseum.nl)
The Feast of Saint Nicholas (Dutch: Het Sint-Nicolaasfeest, c. 1665–1668), is a painting by Dutch master Jan Steen, which can now be found in the Rijksmuseum in Amsterdam. It measures 82 x 70.5 cm. The picture, painted in the chaotic Jan Steen "style," depicts a family at home on December 5, the night celebrated in the Netherlands as the Feast of Saint Nicholas, or Sinterklaas.
The focal point of the painting is the youngest daughter of the family, a golden-child, painted, in fact, in a golden smock and showing golden locks. She has behaved all year, and Saint Nicholas has rewarded her by stuffing her shoe with a doll and other treats, which she carries in her bucket. The "doll" is a representation of John the Baptist. The figure wears what appears to be a camel hair shirt and holds a long cross, both symbols tied to John the Baptist. Being the patron saint of epilepsy, the little girl's insistence on holding on to the figure may suggest she suffers from childhood convulsions or epilepsy. She is in stark contrast to her elder brother, standing to her right, who is sobbing, while another brother looks on, laughing. Apparently, the elder brother has been naughty, and his shoe, held up by an elder sister behind him, was left empty. Still there is hope for the sobbing boy. Hidden in the background, almost obscured by the draperies, his grandmother seems to beckon to him—perhaps she is hiding a gift for him too, behind the heavy curtains.
In the background, a boy holds a young child and points out to the youngster the chimney through which Saint Nicholas brought the gifts. His other brother is already singing a gleeful song of thanksgiving in appreciation of the gifts he has received.
The lower right hand corner of the painting actually reveals another popular style of painting. A basket of assorted traditional Christmas sweetmeats like honey cake, gingerbread, waffles, nuts, and apples is actually a miniature still life within the greater painting. Even more examples of the specially celebratory feasts of Christmastime appear on the left side of the foreground. The apple and the coin are references to the old tradition of giving hidden apples and coins to friends as presents. A special diamond shaped caked called a duivekater, leans up against the table and marks the special occasion. In another painting by Steen, the Leiden baker, this same pastry also appears.
The Child near the chimney is holding a symbol of the struggle between Catholics and Protestants, a gingerbread man in the shape of St. Nicholas. The delicacy, still enjoyed around the fifth of December, was seen as an example of Catholic worship of saints and was not approved of by Protestant authorities. In the seventeenth century, the baking of such figures of saints (especially St. Nicholas) was banned. In 1655 in the city of Ultrecht an ordinance was passed which forbade “the baking of likenesses in bread or cake”. (en.wikipedia.org/The Feast of Saint Nicholas) 作者: ngsunyu 时间: 2020-2-15 07:57 本帖最后由 ngsunyu 于 2020-2-15 08:00 编辑
日常生活是斯特恩的主要绘画题材。他画的许多风俗场面，比如《孩子们教小猫跳舞》（荷蘭語：Kinderen leren een poes dansen），其活泼热烈已达到混乱的地步。由此而来的荷兰语谚语een huishouden van Jan Steen即“一个扬·斯特恩家庭”意为一个混乱的场景。他画中微妙的暗示看来表示斯特恩旨在提醒观众，而并非请他仿效这种行为。斯特恩的许多油画都和老的荷兰谚语或文学有关。(zh.wikipedia.org/扬·斯特恩)
These children are up to mischief: they are teaching a cat to dance to the music of a shawm, a 17th-century wind instrument. While they are clearly enjoying them-selves, the cat screeches in protest, joined by a barking dog. The old man at the window angrily rebukes the children: should they not be learning something rather than giving dancing lessons to a cat? (Rijksmuseum.nl)作者: ngsunyu 时间: 2020-2-16 06:14 本帖最后由 ngsunyu 于 2020-2-16 06:17 编辑
Pieter Jansz. Saenredam (9 June 1597 - buried 31 May 1665) was a painter of the Dutch Golden Age, known for his distinctive paintings of whitewashed church interiors such as Interior of St Bavo's Church in Haarlem and Interior of the Sint-Odulphuskerk in Assendelft. (en.wikipedia.org/Pieter Jansz. Saenredam)
Interior of the Sint-Odulphuskerk in Assendelft is a painting by the Dutch artist Pieter Jansz. Saenredam (1597-1665), showing the interior of a church in Assendelft. It is now in the Rijksmuseum in Amsterdam.
The artist had decided to specialize in architectural interiors in 1628 and made his first sketches for this work in 1633-1634. He then used these as the basis for a 1643 preparatory drawing to establish the perspective, finally completing the painting itself on 2 October 1649, as shown by the date painted on the bench to the left.
(en.wikipedia.org/Interior of the Sint-Odulphuskerk in Assendelft)
Serene religious feelings in an intimate and tranquil setting as expressed by this Calvinist painter in this sober Dutch church of his hometown , in which only the voice of the speaker on the pulpit counts. 作者: ngsunyu 时间: 2020-2-16 09:35 本帖最后由 ngsunyu 于 2020-2-16 11:55 编辑
雅各布·伊萨克松·范勒伊斯达尔（Jacob Isaakszoon van Ruisdael [或拼作Ruysdael]，约1628年－1682年3月14日）是著名的荷兰风景画家。(zh.wikipedia.org/雅各布·伊萨克松·范勒伊斯达尔)
《从西北方远观哈勒姆》有五個相似但略有不同的版本。極限版藏於蘇黎世美術館（Kunsthaus Zürich）。另一版藏於阿姆斯特丹國家博物館。又一版藏於莫瑞泰斯皇家美术馆（荷蘭語：Mauritshuis)。還有一版藏於德国柏林畫廊（Gemäldegalerie）。再有一版藏於美国加州聖地牙哥 Timken 美術館 (Timken Museum of Art）。(nl.wikipedia.org/Gezicht op Haarlem met bleekvelden) (en.wikipedia.org/View of Haarlem with Bleaching Fields)
Foreigners experience the flat Dutch landscape as having a straight, low horizon extending under a vast sky with billowing cumulus clouds. This is how Ruisdael painted the Haarlem skyline in the distance, recognizable by the high roof of St Bavo’s. Lengths of cloth bleaching in the sun lie at the foot of the dunes in the foreground. The Haarlem linen industry relied on the pure dune water. (Rijksmuseum.nl)作者: ngsunyu 时间: 2020-2-16 09:35 本帖最后由 ngsunyu 于 2020-2-16 09:42 编辑
雅各布·伊萨克松·范勒伊斯达尔（Jacob Isaakszoon van Ruisdael [或拼作Ruysdael]，约1628年－1682年3月14日）是著名的荷兰风景画家。(zh.wikipedia.org/雅各布·伊萨克松·范勒伊斯达尔)
《迪爾斯泰德附近韋克的風車》現展於阿姆斯特丹國家博物館。
The windmill rises up majestically, defying the dark rain clouds and overshadowing the castle and the church of Wijk bij Duurstede. The River Lek flows in the foreground. This painting is world famous, and rightly so. In this impressive composition, Ruisdael united all the typical Dutch elements – the low-lying land, the water and the expansive sky – manipulating them to converge on the equally characteristic Dutch watermill. (Rijksmuseum.nl)
The Windmill of Wijk bij Duurstede (c. 1670) is an oil on canvas painting by the Dutch painter Jacob van Ruisdael. It is an example of Dutch Golden Age paintingand is now in the collection of the Amsterdam Museum, on loan to the Rijksmuseum.
The painting shows Wijk bij Duurstede, a riverside town about 20 kilometers from Utrecht, with a dominating cylindrical windmill, harmonised by the lines of river bank and sails, and the contrasts between light and shadow working together with the intensified concentration of mass and space. The attention to detail is remarkable. Art historian Seymour Slive reports that both from an aeronautical engineering and a hydrological viewpoint the finest levels of details are correct, in the windmill's sails and the river's waves respectively. (en.wikipedia.org/Windmill at Wijk bij Duurstede)作者: ngsunyu 时间: 2020-2-18 09:00 本帖最后由 ngsunyu 于 2020-2-18 09:10 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
Vincent moved to Paris in 1886, after hearing from his brother Theo about the new, colourful style of French painting. Wasting no time, he tried it out in several self-portraits. He did this mostly to avoid having to pay for a model. Using rhythmic brushstrokes in striking colours, he portrayed himself here as a fashionably dressed Parisian. (Rijksmuseum.nl)作者: ngsunyu 时间: 2020-2-19 00:40 本帖最后由 ngsunyu 于 2020-2-19 00:41 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
這幅1886年 梵高的 《两幅自画像和几个细节》（荷蘭語：studies voor een zelfportret, F1378r) 沒有被展出。这幅素描画和大部分纸质作品一样，它只会偶尔被展出。
On this sheet of paper, Van Gogh drew two complete self-portraits, plus a few details in the upper right. The upper left corner of the sheet is missing. A few pencil lines are visible under the missing section – probably part of a beard. So this seems likely to have been another small self-portrait. In these drawings, Van Gogh used a great deal of hatchwork to show the shape of his face. He also used fine lines to render shadows, like those around and between his eyes. These may have been sketches for a painting; he drew himself several times from the same angle. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-19 00:42 本帖最后由 ngsunyu 于 2020-2-22 00:48 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17幅梵高自画像展于梵高博物馆。
這幅1886年 梵高的 《叼着烟斗自画像》（荷蘭語：zelfportret met pijp, F180) 展于梵高博物馆。
Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.
In Paris, Van Gogh had discovered the work of Adolphe Monticelli (1824-1886). He admired this older French painter for his rich colour palette and thick application of paint. In this self-portrait he tried out Monticelli's approach to colour and light effects. The pale tones of his face stand out starkly against the warm, dark red background. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-19 00:45 本帖最后由 ngsunyu 于 2020-2-22 00:47 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17 幅梵高自画像展于梵高博物馆。
這幅1886年 梵高的 《畫家的自画像》（荷蘭語：zelfportret als schilder, F181) 展于梵高博物馆。
Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.
This is one of the earliest self-portraits painted by Van Gogh – and the first in which he portrayed himself as an artist. He stands at his field easel, holding his palette. After more than five years of practice in the Netherlands and Antwerp (BE), he was eager to make his name as a painter in Paris. The rectangular palette is covered with splotches of paint; each one is a pure, unmixed colour. At the top is a small jar of turpentine for thinning the paint. There are two holes in the palette: in one we see Van Gogh's thumb and in the other two brushes. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-21 06:09 本帖最后由 ngsunyu 于 2020-2-24 02:44 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17幅梵高自画像展于梵高博物馆。
這幅1887年 梵高的 《自画像》（荷蘭語：zelfportret, F356) 展于梵高博物馆。
Around the world, people recognise this man with a red beard and an earnest look in his eyes. Vincent van Gogh painted about 35 self-portraits in total, most of them in Paris. For him, this was a way of practising portrait painting. His intention was not to portray himself as realistically as possible. He used the Neo-Impressionist style here, with short, rough brushstrokes. These alternate with longer strokes, such as the orange in his beard. The background was originally purple (a mix of red and blue), but the red pigment has discoloured and has become almost completely transparent. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-22 00:42 本帖最后由 ngsunyu 于 2020-2-22 00:47 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17幅梵高自画像展于梵高博物馆。
這幅1887年 梵高的 《自画像》（荷蘭語：zelfportret, F77v) 展于梵高博物馆。
During his time in Paris (1886-1888), Van Gogh painted more than 20 self-portraits. He probably had very little money for models. That led him to take himself as an object of study. Here he portrays himself as an artist in his blue smock-frock. This was what he wore when painting. Van Gogh painted this on the back of a Study for ‘The Potato Eaters’, which he had made earlier in Nuenen (NL). By doing that, he avoided the costs not only of a model but also of expensive canvas. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-23 00:30 本帖最后由 ngsunyu 于 2020-2-23 00:32 编辑
文森·威廉·梵高（荷兰语：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：Van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17 幅梵高自画像展于梵高博物馆。
這幅1887年 梵高的 《自画像》（荷蘭語：zelfportret, F296) 展于梵高博物馆。
Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.
'People say – and I'm quite willing to believe it – that it's difficult to know oneself – but it's not easy to paint oneself either,' Van Gogh once wrote to his brother Theo. He presents himself in this self-portrait as a respectable bourgeois, wearing an elegant suit and felt hat.
The small painting is done in shades of pastel grey-blue. This was an unusual palette for Van Gogh, who even changed the colour of his eyes to match it. In reality they were green, yet they are shown in this painting as grey-blue. The bright red beard stands out strongly against all the grey tones. (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-2-23 00:34 本帖最后由 ngsunyu 于 2020-4-19 02:24 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有18 幅梵高自画像展于梵高博物馆。
這幅1887年 梵高的 《带草帽的自画像》（荷蘭語：zelfportret met Strohoed, F469) 展于梵高博物馆。
Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.
Wearing light summer clothes, the artist examines us with one blue and one green eye. For this self-portrait, Van Gogh used an inexpensive alternative to canvas: cardboard. He then applied a layer of priming with dashes of purple. But the pigment in that purple paint has largely faded over time. A few strokes of pink are still faintly visible in his shoulder. The original colours, carefully composed by Van Gogh, have therefore been lost. For instance, the purple background once contrasted with his yellow straw hat. (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-2-24 00:24 本帖最后由 ngsunyu 于 2020-2-24 00:25 编辑
文森·威廉·梵高（荷兰语：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：Van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17 幅梵高自画像展于梵高博物馆。
這幅1887年 梵高的 《叼烟斗带草帽自画像》（荷蘭語：zelfportret met pijp en strohoed, F524) 展于梵高博物馆。
Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.
This sketchy self-portrait is an example of the amazingly rapid progress Van Gogh made in Paris. The summery palette and loose brushwork betray the influence of the Impressionists. The smock, hat and background consist of large, outlined areas of colour. The face and beard are built up in more detail using different tones. Van Gogh was practising painting portraits. Because models were expensive, he bought a good mirror and used himself as his subject. He later wrote to his brother Theo: 'because if I can manage to paint the coloration of my own head, which is not without presenting some difficulty, I'll surely be able to paint the heads of the other fellows and women as well.'. (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-2-24 00:27 本帖最后由 ngsunyu 于 2020-2-24 03:47 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17 幅梵高自画像展于梵高博物馆。
這幅1887年 梵高的 《带灰色毡帽的自画像》（荷蘭語：zelfportret met grijze vilthoed, F344) 通常展于梵高博物馆(外借德國博物館直到2月)。
Van Gogh painted this self-portrait in the winter of 1887–88, when he had been in Paris for almost two years. It is clear from the work that he had studied the technique of the Pointillists and applied it in his own, original way. He placed the short stripes of paint in different directions. Where they follow the outline of his head, they form a kind of halo.
The painting is also one of Van Gogh’s boldest colour experiments in Paris. He placed complementary colours alongside one another using long brushstrokes: blue and orange in the background, and red and green in the beard and eyes. The colours intensify one another. The red pigment has faded, so the purple strokes are now blue, which means the contrast with the yellow is less powerful. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-24 00:28 本帖最后由 ngsunyu 于 2020-2-25 00:43 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
今年十月，我们游览了荷兰，比利时。 我们去第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于梵高博物馆（荷蘭語：van Gogh Museum) 步行距离只有2分钟。该馆藏梵高作品数量是世界上最多的。35幅梵高自画像其中有十七幅藏于梵高博物馆，加上梵高博物馆借了倫敦 Courtauld Institute Galleries 的 1889年梵高包紮耳朵自画像 Self-portrait with Bandaged Ear, Easel and Japanese Print (F527) ，一共有17 幅梵高自画像展于梵高博物馆。
這幅1887~1888年 梵高的 《畫家的自画像》（荷蘭語：zelfportret als schilder, F522) 展于梵高博物馆。
Van Gogh presented himself in this self-portrait as a painter, holding a palette and paintbrushes behind his easel. He showed that he was a modern artist by using a new painting style, with bright, almost unblended colours. The palette contains the complementary colour pairs red/green, yellow/purple and blue/orange – precisely the colours Van Gogh used for this painting. He laid these pairs down side by side to intensify one another: the blue of his smock, for instance, and the orange-red of his beard.
Self-Portrait as a Painter was the last work Van Gogh produced in Paris; the city had exhausted him both mentally and physically. He told his sister Wil how he had portrayed himself: ‘wrinkles in forehead and around the mouth, stiffly wooden, a very red beard, quite unkempt and sad’. (vangoghmuseum.nl)作者: ngsunyu 时间: 2020-2-25 00:50 本帖最后由 ngsunyu 于 2020-2-25 00:54 编辑
文森·威廉·梵高（荷蘭語：Vincent Willem van Gogh) 一生中，创作了約35幅自画像。梵高很可能是通过看镜子中的像画自己的，即画像中的右脸实际是他的左脸。(zh.wikipedia.org/梵高自画像列表)
Van Gogh moved from Paris to Arles in hopes of creating a community for artists to exist in mutual supportiveness and encouragement. He invited Paul Gauguin, an artist whom he had befriended in Paris, to come stay with him. They proved to be a disagreeable pair and quarreled often, sometimes violently. The evening of December 23, 1888 during one of their arguments, Van Gogh had a seizure during which he threatened Gauguin with a razor, but then injured himself, severing part of his left ear. In a state of excitement, he then brought the dismembered lobe to the Maison de Tolérance bordello where he presented it to a prostitute named Rachel. When Gauguin returned the following morning he discovered that the police had arrived at the house, and blood was splattered in every room. Van Gogh had severed an artery in his neck, and was in grave health after losing so much blood. He was removed to the hospital, and he confessed to having no recollection of what happened during this fit. Throughout his life, Van Gogh continued to suffer from similar fits, sometimes characterized by acute paranoia.
In this self-portrait, Van Gogh is shown wearing a blue cap with black fur and a green overcoat, with a bandage covering his ear and extending under his chin. He is in a traditional three-quarter view, and his forward gaze falls slightly to the right, out of the frame. Behind him is an open window, assumedly letting in a winter breeze, a canvas on an easel, with a few indistinguishable marks, as well as a Japanese woodblock print. This woodblock print has been identified as a Geishas in a Landscape published by Sato Tokyo in the 1870s. This shows an important influence of Japonism and wood block print on Van Gogh's work, which also appear in the background of other portraits he had created. The painting is composed of impasto strokes, mostly in a vertical pattern. This creates a texture, which comes up off the canvas and adds dimension to the flat surface. The skin tone is muted with green and yellowish tones. The bandage covering Van Gogh's ear in this painting alludes to his most famous conflict. Van Gogh used a mirror for his self-portraits which is why some mistakenly think that he lost part of his right ear instead of his left. (en.wikipedia.org/Self-Portrait with Bandaged Ear)作者: ngsunyu 时间: 2020-2-25 01:00 本帖最后由 ngsunyu 于 2020-2-26 00:13 编辑
《圣玛丽海滩上的渔船》（荷蘭語: Vissersboten op het strand van Les Saintes-Maries-de-la-Mer) ，目前收藏在荷蘭的梵高博物館內。
Can you see why these fishermen's boats appear slightly unreal? Compared to the irregular surface of the sandy beach, they've been painted in an overly two-dimensional way. The boats are made up of areas of uniform colour within strong outlines. Furthermore, the boats don't cast shadows on the beach. These stylistic elements were familiar to Van Gogh from his collection of Japanese prints. Van Gogh would have preferred to make this painting on the beach, but he couldn't, because the fishermen put out to sea very early every morning. He did draw the boats there, however, and later made this painting at home. (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-2-26 00:02 本帖最后由 ngsunyu 于 2020-2-27 03:58 编辑
In May 1888, Van Gogh rented four rooms in a house on Place Lamartine in Arles (southern France). The green shutters in this painting of the square show where he lived. Shortly after moving into the ‘Yellow House’, he sent Theo a description and sketch of his painting of it: ‘it’s tremendous, these yellow houses in the sunlight and then the incomparable freshness of the blue.’
The work, which Van Gogh himself called ‘The Street’, records the artist’s immediate surroundings: he often ate at the restaurant on the left, and the home of his friend, the postman Joseph Roulin, lay just beyond the second railway bridge.
Vincent had finally found a place at the Yellow House where he could not only paint but also have his friends come to stay. His plan was to turn the yellow corner-building into an artists’ house, where like-minded painters could live and work together. (vangoghmuseum.nl)
我們於2014年前往法國普羅旺斯，參觀了以梵高畫作聞名的兩個城市。阿尔勒的路標上顯示了梵高畫作的位置，例如《星空下的露天咖啡座》等。拉马丁广场离火车站不远，但黄房子不见了。 从拉马丁广场步行五分钟，我们站在罗纳河畔，正是梵高画了《罗纳河上的星夜》法语：Nuit étoilée sur le Rhône 、或译《隆河上的星夜》的地点。该画现藏于法国巴黎的奥塞美术馆。油畫照片和極限明信片請看文森·梵谷 (Vincent van Gogh) 的《罗纳河上的星夜》(Nuit étoilée) 。作者: ngsunyu 时间: 2020-2-26 00:15 本帖最后由 ngsunyu 于 2020-2-27 04:03 编辑
《阿尔勒的臥室》（法语：La Chambre à butts，荷兰语：Slaapkamer te Arles）是荷蘭畫家 梵高的著名作品之一。他於1888年與1889年在法國普羅旺斯的阿尔勒所繪。梵高總共繪製了3幅畫，目前收藏在荷蘭的梵高博物館、芝加哥藝術博物馆與奧塞美術館內。(zh.wikipedia.org/在亞爾的臥室)
梵高在牧师弗雷德里克·萨勒（Frédéric Salles）的陪同下于1889年5月8日住進了阿尔勒 30公里（19英里）外聖雷米的精神病院。精神病院和周邊景色成爲了這段時期他作品的主題，如《星夜》（極限明信片請看 文森·梵谷 (Vincent van Gogh) 的 《星夜》（荷語：De sterrennacht）。此外根據回憶，他創作了《阿尔勒的臥室》的另外兩個版本。目前收藏在芝加哥藝術博物馆與奧塞美術館內。(zh.wikipedia.org/文森特·梵高)
While he was in Arles, Van Gogh made this painting of his bedroom in the Yellow House. He prepared the room himself with simple furniture and with his own work on the wall. The bright colours were meant to express absolute ‘repose’ or ‘sleep’. Research shows that the strongly contrasting colours we see in the work today are the result of discolouration over the years. The walls and doors, for instance, were originally purple rather than blue. The apparently odd angle of the rear wall, meanwhile, is not a mistake on Van Gogh’s part – the corner really was skewed. The rules of perspective seem not to have been accurately applied throughout the painting, but this was a deliberate choice. Vincent told Theo in a letter that he had deliberately ‘flattened’ the interior and left out the shadows so that his picture would resemble a Japanese print. Van Gogh was very pleased with the painting: ‘When I saw my canvases again after my illness, what seemed to me the best was the bedroom.’ (vangoghmuseum.nl)
我們於2014年前往法國普羅旺斯，參觀了以梵高畫作聞名的兩個城市。阿尔勒的路標上顯示了梵高畫作的位置。拉马丁广场离火车站不远，但黄房子不见了，因此看不到他的卧室。作者: ngsunyu 时间: 2020-2-27 03:52
《高更的椅子》（荷蘭語: De stoel van Gauguin) ，目前收藏在荷蘭的梵高博物館內。
This painting of Paul Gauguin's chair is a 'portrait' of Van Gogh's friend and fellow artist. The modern novels and burning candle on the green seat cushion symbolize the character of the absent painter. Using mainly red and green hues, Van Gogh tried to suggest the mood of night. He also painted a pendant of this work with a daytime atmosphere: his own simple peasant chair in bright yellow and blue. The two paintings represent the different personalities of the two artists, who quarrelled and went their separate ways soon afterwards. Van Gogh skilfully captured the bluish shadows and reflected light on the polished wood of the chair. These were created by the gas lighting (a gas lamp can be seen in the background). (vangoghmuseum.nl). 作者: ngsunyu 时间: 2020-2-28 00:47 本帖最后由 ngsunyu 于 2020-2-28 00:50 编辑
這幅1888年 高更的 《高更自画像》（荷蘭語: Zelfportret met portret van émile Bernard (Les misérables) ，目前收藏在荷蘭的梵高博物館內。
Van Gogh knew that Japanese printmakers often exchanged work with one another. The idea appealed to him, so he suggested that he, Paul Gauguin and Emile Bernard should do the same: ‘It clearly proves that they liked one another and stuck together, and that there was a certain harmony among them [. . .] The more we resemble them in that respect, the better it will be for us.’ His friends both sent self-portraits, with a likeness of the other artist in the background.
Gauguin painted himself in the guise of Jean Valjean, the main character of Victor Hugo’s novel Les Misérables, equating the vibrant and loving fictional outcast with the misunderstood artists of his time. He wrote: ‘By doing him with my features, you have my individual image, as well as a portrait of us all, poor victims of society, taking our revenge on it by doing good’. The cheerful floral pattern on the wall was Gauguin’s way of testifying to ‘our artistic virginity’. Van Gogh was impressed by the portrait’s melancholy character. He described the shadows in Gauguin’s face as ‘lugubriously tinged with blue’ and noted that he looked ill and tormented.’ (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-2-29 01:14 本帖最后由 ngsunyu 于 2020-2-29 01:17 编辑
這幅1888年 高更的 《梵高在画向日葵》（荷蘭語: Vincent van Gogh zonnebloemen schilderend) ，目前收藏在荷蘭的梵高博物館內。
Was Van Gogh really painting a vase of sunflowers when his friend Gauguin produced this portrait of him? No, he can’t have been: it was December and far too late in the year for sunflowers. But it’s quite probable that Van Gogh painted a copy of one of his own sunflower pictures around this time. The landscape in the background is also fictional: unlike Van Gogh, Gauguin liked to work from his imagination. They often argued about this. This painting refers to their disagreement.
Later, Van Gogh wrote about this portrait: ‘My face has lit up a lot since, but it was indeed me, extremely tired and charged with electricity as I was then.’ (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-3-1 00:11 本帖最后由 ngsunyu 于 2020-3-1 03:34 编辑
Van Gogh’s paintings of Sunflowers are among his most famous. He did them in Arles, in the south of France, in 1888 and 1889. Vincent painted a total of five large canvases with sunflowers in a vase, with three shades of yellow ‘and nothing else’. In this way, he demonstrated that it was possible to create an image with numerous variations of a single colour, without any loss of eloquence. The sunflower paintings had a special significance for Van Gogh: they communicated ‘gratitude’, he wrote. He hung the first two in the room of his friend, the painter Paul Gauguin, who came to live with him for a while in the Yellow House. Gauguin was impressed by the sunflowers, which he thought were ‘completely Vincent’. Van Gogh had already painted a new version during his friend’s stay and Gauguin later asked for one as a gift, which Vincent was reluctant to give him. He later produced two loose copies, however, one of which is now in the Van Gogh Museum. (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-3-2 01:09 本帖最后由 ngsunyu 于 2020-3-2 01:12 编辑
1888年，梵高在法国南部迎来了他绘画生涯中产量最高的时期。1888年3月当梵高到达阿尔勒时，阿尔勒近郊的花朵即将盛开。鳶尾花的花朵激励着他，在1888年5月，梵高绘制了《阿尔勒的田间鳶尾花》（荷蘭語: Veld met irissen bij Arles) ，目前收藏在荷蘭的梵高博物館內。
Van Gogh was captivated by the colours of the landscape around the town of Arles (FR). He particularly loved the contrast between the yellow and purple flowers in the fields. In the landscape, he felt he could see a reflection of the world he knew from his collection of Japanese prints. Japanese artists used large areas of colour in their compositions, often with a sharp diagonal. They also regularly zoomed in on a detail in the foreground. Van Gogh adopted these elements in his paintings. It was just like 'a Japanese dream,' he wrote in a letter to his brother Theo.
The painting was recently examined and restored. In the process, the old discoloured varnish layer which had dulled the colours was removed. The colours are now much brighter. (vangoghmuseum.nl) 作者: ngsunyu 时间: 2020-3-2 01:14 本帖最后由 ngsunyu 于 2020-3-2 03:40 编辑
Van Gogh painted this still life in the psychiatric hospital in Saint-Rémy. For him, the painting was mainly a study in colour. He set out to achieve a powerful colour contrast. By placing the purple flowers against a yellow background, he made the decorative forms stand out even more strongly. The irises were originally purple. But as the red pigment has faded, they have turned blue. Van Gogh made two paintings of this bouquet. In the other still life, he contrasted purple and pink with green. (vangoghmuseum.nl)
Large blossom branches like this against a blue sky were one of Van Gogh’s favourite subjects. Almond trees flower early in the spring making them a symbol of new life. Van Gogh borrowed the subject, the bold outlines and the positioning of the tree in the picture plane from Japanese printmaking.
The painting was a gift for his brother Theo and sister-in-law Jo, who had just had a baby son, Vincent Willem. In the letter announcing the new arrival, Theo wrote: ‘As we told you, we’ll name him after you, and I’m making the wish that he may be as determined and as courageous as you.’ Unsurprisingly, it was this work that remained closest to the hearts of the Van Gogh family. Vincent Willem went on to found the Van Gogh Museum. (vangoghmuseum.nl)
《麥田群鴉》（荷蘭語: Korenveld met kraaien) ，目前收藏在荷蘭的梵高博物館內。
Wheat field with Crows is one of Van Gogh's most famous paintings. It is often claimed that this was his very last work. The menacing sky, the crows and the dead-end path are said to refer to the end of his life approaching. But that is just a persistent myth. In fact, he made several other works after this one.
Van Gogh did want his wheatfields under stormy skies to express 'sadness, extreme loneliness', but at the same time he wanted to show what he considered 'healthy and fortifying about the countryside'.
Van Gogh used powerful colour combinations in this painting: the blue sky contrasts with the yellow-orange wheat, while the red of the path is intensified by the green bands of grass.(vangoghmuseum.nl)作者: ngsunyu 时间: 2020-5-11 14:32 本帖最后由 ngsunyu 于 2020-5-11 22:09 编辑
荷兰語原文
In memorium: Ronald van der Leeden 1958 - 2020
Met ongeloof kregen wij afgelopen zaterdag het trieste bericht dat onze vriend, ons bestuurslid en maximafilist Ronald van der Leeden plotseling is overleden.
Ronald was een gepassioneerd schrijver / verteller over de maximafilie en over zijn kaarten. Naast verzamelaar wist hij voor onze Nieuwtjesdienst meerdere keren per jaar schitterende series maximumkaarten te vervaardigen, waarmee hij ook internationaal aanzien verwierf. Met enige regelmaat wist hij prijzen én op persoonlijke titel én namens onze vereniging in de wacht te slepen. Zo won hij in 2017 o.a. de prestigieuze “Campionato Europeo di Maximafilia” in Sestri Levante uit Italië.
Zijn perfectionisme was niet alleen terug te vinden in het vervaardigen van zijn maximumkaarten, maar ook bij het tot stand komen van teksten voor ons bulletin en de website. Bovenal zal zijn aparte, droge gevoel voor humor ons altijd met een glimlach bijblijven.
Ronald was vastberaden in zijn promotie en handelingen voor de Maximafilie in Nederland en voor onze vereniging voor Kinderpostzegels en Maximafilie. Zoals Ronald altijd zei: “Kom op, doorgaan!”
Zijn telkens weer bijzondere maximumkaarten, vaak voorzien van mooie picturale stempels (met regelmaat mede door hem ontworpen), zullen wij met liefde koesteren.
Eén van de laatste maximumkaarten die wij van hem ontvingen waren n.a.v. de Kinderpostzegels 2019, waarvan hier enkele voorbeelden.
Ronald is een gerespecteerd bestuurslid van onze vereniging voor kinderpostzegels en maximafilie.
We gaan Ronald verschrikkelijk missen.
Hij was een trotse jonge opa en het wel en wee van zijn gezin stond altijd voorop maar de vereniging had ook een grote plek in zijn leven.
Onze oprechte deelneming met dit enorme verlies gaat uit naar zijn vrouw Astrid, zoon, schoondochter, kleinzoon, naaste familie en vrienden.
Wij zijn in gedachten bij hun en houden Ronald altijd dichtbij ons in ons hart.
Via de site www.kindmax.nl bestaat de mogelijkheid uw medeleven over te brengen aan zijn vrouw en familie.
Bestuur en leden Vereniging van Maximafilie en kinderpostzegel
(www.facebook.com/158928360804933 ... e/2486425161668504/)
谷歌英語翻譯
In memorium: Ronald van der Leeden 1958 - 2020
Last Saturday we received with disbelief the sad message that our friend, our board member and maximaphilist Ronald van der Leeden has suddenly passed away.
Ronald was a passionate writer / storyteller about maximaphilia and his cards. In addition to being a collector, he managed to produce beautiful series of maximum cards for our Nieuwtjesdienst several times a year, with which he also gained international prestige. With some regularity he managed to win prizes both in a personal capacity and on behalf of our association. For example, in 2017 he won the prestigious “Campionato Europeo di Maximafilia” in Sestri Levante from Italy.
His perfectionism was not only reflected in the production of his maximum cards, but also in the creation of texts for our bulletin and the website. Above all, his distinct, dry sense of humor will always stay with us with a smile.
Ronald was determined in his promotion and actions for the Maximafilie in the Netherlands and for our association for Kinderpostzegels and Maximafilie. As Ronald always said, "Come on, keep going!"
We will cherish his special maximum cards, often with beautiful pictorial stamps (regularly designed by him).
One of the last maximum cards we received from him were in connection with the Children's Stamps 2019, of which here are some examples.
Ronald is a respected board member of our association for children's stamps and maximaphilia.
We are going to miss Ronald terribly.
He was a proud young grandfather and the fortunes of his family always came first, but the association also had a big place in his life.
Our sincere condolences to this huge loss go to his wife Astrid, son, daughter-in-law, grandson, close family and friends.
We are with them in mind and always keep Ronald close to us in our hearts.
Via the site www.kindmax.nl it is possible to convey your condolences to his wife and family.
Board and members of the Association of Maximaphilia and children's stamp作者: ngsunyu 时间: 2020-5-11 14:35 本帖最后由 ngsunyu 于 2020-5-11 15:07 编辑
谷歌英語翻譯 荷兰极限协会会长 Edward Froon 荷兰語悼文 (kindmax.nl/Kinderpostzegels_Maximafilie_Home.html)。
I am Edward Froon and chairman of the Stamp Association For the Child and Maximafilie where Ronald was also on the board and was the most active board member. There, just like in the family, a big hole has been made and maximaphilia has been struck in his heart.
Stefan called me with the saddest announcement that Ronald had died after returning to the hospital, which he had been in for 10 days. Terrible this message about the most active member of our association.
I had known him for years. Regularly visited The Hague and of course made many calls about current affairs. I'll tell you how he became our most prominent member. When I joined, we often competed in club auctions. First in competition so with each other, but later we found each other unanimous in improving the quality within the association. I was active in the quarterly magazine, the Bulletin of articles on maximaphilia. Climbed up to chair and I persuaded some people to exhibit abroad. We did that in Luxembourg. A friendly small Benelux country with many connections to Germany and France. There we have made many contacts with Foreign Associations. We heard the most from the French about the unwritten rules in the review and we learned a lot from that. We heard from the Germans that we were doing “not good at all”. At a second exhibition two years later in Echternach, we explained together the German chairman why it was good. He had to admit that they were indeed 90% good.
This was followed by an invitation in 2005 to participate in the European Maximaphilia Championships in Corbeille, a small town south of Paris. After work in the flower shop, Ronald came to Paris by TGV, where Vic Henken and I picked up Ronald and Aad Hofmeester for this exhibition. We got enough points to finish in the top 10 as a country. The most beautiful moment came as a surprise on the last day, that the maximum card Ronald had produced of Willem Alexander and Maxima, kissing on the balcony of the Royal Palace on Dam Square, was chosen as the best of the year 2004. The FIP delegates all thought it was a nice romantic card.
The club plowed on and Ronald was already an active member of the Nieuwtjesdienst from the old board meetings. After saying goodbye to the old generation like Henk Salet, Aad Hofmeester and Wim Roffelsen, his victory started with better and better maximum cards. His sense of the right card, color and shape on the stamp was always better than others, thanks to his many years of florist experience in making bouquets. That has then become automatic.
In fact, as the years went by, there was also a switch in the lives of Ronald and Astrid when he suffered from kidney stones for some time. Did they want to continue with the business as the years went by? They have tackled that cleverly. The flower shop was closed and the store rented out. Astrid was able to find a job and later even a permanent position at the UWV and Ronald turned his hobby into his profession. Everyone is gradually familiar with their PhilaRomax webshop.
His best moments in the family atmosphere in recent years were the graduation of Stefan (and Laura of course), the first jobs, their promotions and of course the birth of grandson Milan. In the maximaphilia that was early 2017, when we went to the European Championships Maximaphily in Italy. Exciting to fly to Milan by plane and drive to the Italian Riviera. Ronald did not exhibit with the Netherlands now, but had submitted his latest International collection. Everything about the old royal houses in Europe with maximum cards from 1900 to 1940, usually still sent. This is how maximaphilia was created. The international jury was perplexed, they had never seen this before. The result was exciting, which was announced during a big dinner with all participants and family (especially Italian of course). That then goes from last to 1st place. Things got really exciting for both of us when 3rd place went to an Italian and we were both still in the race. Then I was called for 2nd place and then Ronald as the winner. He had of course earned that for years, but now there was also international recognition at the European Championships. Due to his 1st place and my 2nd place, the Netherlands also became 1st in the country championships. Now, therefore, also international recognition for the Dutch Maximaphilia and the extensive work of Ronald that has been done for this. Extra reward was there on the return night at Schiphol by the presence of Stefan and Laura who inaugurated the Champion. This was shown again in 2016 when the world federation announced that it turned out that it had made the best maximum card in the world for the second time in 2015. With the iconic map of Van Gogh with the straw hat.
On the mourning card we see him laughing while walking with the grandson Milan in the cart. That is a complete family man. You know him in particular. Kees and I who were both allowed from the association are also present, but especially of his beautiful maximum cards that he always managed to make at most issues. That is why we have named him as maker of Heavenly cards on the card near the flower arrangement of the Association that is now with the chest.
The chairman of the Royal Dutch Federation of Philatelic Associations asked me to also express their condolences. You all condolences with this loss. A hole has been made in the family and the circle of acquaintances. His death has hit the Maximafilie in the Netherlands and our association in his heart.
But also a bleeding heart beats and lives on the fun moments in all of our lives.
We will miss his dry humor in The Hague, but not his working attitude, as it is concisely stated on the mourning card: "Come on, continue."
Let's do all that and keep following his good example.
You can view the funeral card by clicking here.
You can leave condolences on the crematorium website via the link: