从蒂沃利看 罗马景色View of Rome from Tivoli_1872__乔治·英尼斯油画作品欣赏
许多十九世纪的美国艺术家的主要抱负是到意大利朝圣，吸收古典和文艺复兴时期的艺术传统。对于风景画家来说，这次逗留也为他们描绘意大利乡村的气氛和季节提供了机会。英尼斯于1870年第二次到意大利旅行，这次旅行将持续四年。他以罗马为基地，周游周边地区，参观湖泊和山镇。这次旅行记录在案的近两百幅油画充分证明了它对他的生活产生了巨大的影响。尽管有其描述性，标题“从Tivoli看罗马”是一个误称；事实上，山上的城市比罗马更像Tivoli。Inness的风景是精心设计的，引导观众的视线从前景中的修道院塔楼入口沿着低矮的石墙向下进入绘画的左角。Inness巧妙地捕捉到了大气中的薄雾，在柔和的粉红和蓝灰色天空下，这种薄雾会使深背景闪烁。这位艺术家更关心的是位置感，而不是可辨认的位置。当被问到他作品中描绘的地点时，Inness曾经回答说，这些地点代表着“没有特别的地方；你认为我画了旅游指南吗？”他急躁的反应引起了对景观艺术家所面临的两难处境的关注——是满足顾客参观或想象的地方对纪念品的需求，还是服务于艺术家对一个地方的广义绘画的目的。在“Tivoli对罗马的看法”中，Inness对日常生活的永恒品质的关注取代了对风景更具体的解读。
A prime ambition of many American artists of the nineteenth century was to make a pilgrimage to Italy to absorb the artistic traditions of the classical and Renaissance past. For landscape painters, this sojourn also offered the opportunity to paint the moods and seasons of the Italian countryside. Inness arrived in Italy in 1870 on his second trip, which would last four years. Based in Rome, he traveled extensively throughout the surrounding region, visiting lakes and hill towns. The nearly two hundred recorded paintings from this trip are ample evidence of its powerful effect on his life. Despite its descriptiveness, the title "View of Rome from Tivoli" is something of a misnomer; in fact, the city on the hill resembles Tivoli more than it does Rome. Inness's landscape is carefully composed to lead the viewer's eye from the portal of the monastery tower in the foreground down along the low stone fence descending into the left corner of the painting. Inness has masterfully captured the atmospheric haze that causes the deep background to shimmer under soft pink and blue-gray sky. The artist was more concerned with a sense of place than with identifiable locations. When asked about the sites depicted in his work, Inness once replied that they represented "nowhere in particular; do you suppose I illustrated guidebooks?" His testy response calls attention to the dilemma facing landscape artists - whether to satisfy the demand for souvenirs of places visited or imagined by patrons or to serve the artist's purpose of painting a generalized aspect of a place. In "View of Rome from Tivoli," Inness's focus on the timeless quality of daily life supplants the need for a more specific reading of the landscape."
