阿尔巴诺湖风景Lake Albano_1869_乔治·英尼斯油画作品欣赏。
阿尔巴诺湖是英尼斯职业生涯中期工作的一个很好的例子。从这里可以一览罗马南部12英里(约合48公里)处的一个湖泊，风景以一群穿着时尚服装和乡村农家服饰的人物为特色，背景是一段罗马高架渠、一座城堡、一棵高大的石松和一排柏树。奇怪的是，阿尔巴诺湖的创作时间是1869年，也就是英尼斯回到意大利为美国市场绘制意大利风景的前一年，所以这幅画可能是根据Inness在意大利逗留期间的记忆创作的。尽管如此，阿尔巴诺湖还是以其真实性和魅力引起了共鸣。
意大利的乡村对印度人有特殊的吸引力。比起荒野，他更喜欢他后来所说的“文明景观”，作为一个年轻的艺术家，他画的风景画反映了古典传统。随着他的风格的成熟，紧凑的绘画和理想化的场景让位给更广泛的处理和更大的氛围感，光，和表达性质的自然。
由于阿尔巴诺湖给人的感觉是生动的、第一手的观察资料，因此它与因内斯19世纪70年代的意大利绘画比与他早期的美国绘画更接近。他的一些最大胆的色彩效果和绘画作品可以在他的意大利风景画中找到。阿尔巴诺湖还与后来的画作共享了一个光滑、抛光的表面，通过发光的玻璃实现，以及一些如画的元素和实验性的图像效果，例如构图左侧的开放空间。Inness在保留古典传统的宁静和深邃空间的同时，抛弃了他早期作品中使用的围合框架装置。虽然古典景观通常会包含一些人物，但Inness在这里将这个公式进行了扩展，将人物分组扩大到一个从事各种活动的当代人物的大集合。
Lake Albano is a fine example of Inness's work at mid-career. A sweeping view of a lake 12 miles south of Rome, the landscape features groups of figures in fashionable clothing and rustic peasant costumes and shows in the background a section of Roman aqueduct, a castle, a tall stone pine, and a stand of cypress trees. Curiously, Lake Albano is dated 1869, the year before Inness returned to Italy to paint Italian views for an American market, so it may have been composed from the artist's stored memories of his Italian sojourns. Nevertheless, Lake Albano resonates with authenticity and charm.
The Italian countryside held a special attraction for Inness. Preferring what he later called "civilized landscape" to the wilderness, as a young artist he painted landscapes reflecting the classical tradition. As his style matured, tight drawing and idealized scenes gave way to broader handling and a greater sense of atmosphere, light, and the expressive qualities of nature.
Because of its feeling of vivid, first-hand observation, Lake Albano relates more closely to Inness's Italian paintings of the 1870's than to his earlier American scenes. Some of his most daring color effects and pictorial compositions are found in his Italian landscapes. Lake Albano also shares with the later paintings a smooth, polished surface achieved through luminous glazes, as well as some picturesque elements and experimental pictorial effects, for example, the open spaces on the left side of the composition. While retaining the tranquility and deep space of the classical tradition, Inness abandoned the enclosing framing devices he used in his early works. Though classical landscapes usually included a few figures, Inness expanded this formula here, enlarging the figure grouping to a large gathering of contemporary figures engaged in a variety of activities.
