佛罗里达州塔蓬泉月光风景Moonlight Tarpon Springs Florida_1892_乔治·英尼斯油画作品欣赏。
英尼斯一生都是一个焦躁不安、习惯旅行的人，在他职业生涯的最后十年里，他多次前往美国南部的一些地方进行绘画旅行。从1887年到1894年，他定期在佛罗里达过冬，1894年他去世。英尼斯在这些旅行中画了许多他后期最伟大的画作，其中包括月光下的塔彭斯普林斯。他选择的地点有些偏僻，也不太受欢迎。塔蓬斯普林斯是佛罗里达州海湾沿岸一个寂静的小镇，希腊海绵渔民曾大量涌入这里，但在佛罗里达度假的游客很少去那个海滨小镇。他到塔蓬泉的旅行是英尼斯在远离城市压力的乡村过冬模式的一部分，包括建立一个相对固定的家庭和工作室。
在月光下，在塔蓬泉和一些相关的画作中，英尼斯避开了那些经常去佛罗里达的艺术家们寻找的风景——短吻鳄、棕榈树和繁茂的花朵。相反，他关注的是墨西哥湾北部海岸更微妙的风味和氛围，那里以高大的松树、堤道和短而平坦的景色而闻名。月光下，塔彭泉回荡着强烈的精神力量。在这幅画中，月亮和远处篝火的辉光在一片漆黑的风景中勾勒出了细节，邓肯菲利普斯(邓肯·菲利浦)诗意地形容这片风景“就像我们南方芬芳的松树林的温暖而甜蜜的阴郁”。一个戴着白色头巾的孤独女人，既是构图的支柱，又是诗意的腔调，增强了夜晚的神秘和魔力。人物和大气效果也让人想起法国巴比松学派的作品，早期的影响英尼斯。正如菲利普斯观察到的那样, 英尼斯 被 他的鼓舞人心的灵感和主题" , 见机 行事在他晚年的作品中，在他晚年的旅行中，他通过对色彩、构图和绘画的敏感处理，达到了对自然表达的新高度。
A restless, habitual traveler his entire life, Inness made many extended painting trips to locations in the southern United States in the last decade of his career. He wintered regularly in Florida from 1887 until 1894, the year of his death. Inness painted many of his greatest late paintings on these trips, among them Moonlight, Tarpon Springs. The locations he chose were somewhat off the beaten path and not popular vacation spots. Tarpon Springs was a sleepy town on the Florida Gulf Coast that had experienced an influx of Greek sponge fishermen, but few of the tourists who vacationed in Florida visited that small coastal town. His trips to Tarpon Springs were part of Inness's pattern of wintering in rural locations away from the stress of the city and involved setting up a relatively permanent household and studio.
In Moonlight, Tarpon Springs and a number of related paintings, Inness avoided the sights most frequently sought out by artists visiting Florida-alligators, palm trees, and lush flowers. Instead, he focused on the subtler flavor and atmosphere of the northern Gulf Coast, which is known for its tall pine trees, causeways, and short, flat vistas. Moonlight, Tarpon Springs reverberates with spiritual intensity. In the painting, the moon and glow of a distant bonfire pick out details in an otherwise dark and shadowy landscape that Duncan Phillips poetically described as having "the warm sweet gloom of our fragrant pine groves of the south." A lone woman in a white kerchief, who serves as both a compositional anchor and poetic accent, enhances the mystery and magic of the night. The figure and atmospheric effects are also reminiscent of the work of the French Barbizon School, an early influence for Inness. As Phillips observed, Inness was "inspired by [his] themes
