和尚 僧侣情景The Monk_1873_乔治·英尼斯油画作品欣赏。 僧侣是他最令人难忘的作品之一，也是十九世纪最优秀的绘画作品之一。巴贝里尼别墅位于罗马南部约15英里处，靠近甘多夫城堡，这里的环境被认为是一个特别隐蔽的角落。在尼米湖上，英尼斯描绘了一个孤独的、带着头巾的和尚，手里拿着一根手杖，在一个封闭的花园里漫步。他个子矮小，首先是靠着一堵高高的石墙，在他身后，然后又是靠着一排非常高、纤细的意大利松树在中间。尽管意大利松树是罗马和游行队伍周围的常见特征，尽管因尼斯曾多次为巴贝里尼别墅作画，但只有在僧侣身上，他才能将松树的深色形状有效地衬托在泛黄的赭石色天空上。通过使用统一的刷痕来减少几乎消除这些乔木内部的细节，英尼斯设计了这些自然形式作为相互连接的青贮形状的抽象图案。他一定特别高兴他们在上边创造出了一条清晰的、蜿蜒的、生动的美丽线条。
The Monk is one of his most haunting works and among the finest paintings of the nineteenth century. The setting for this extraordinary landscape is thought to be a particularly secluded corner of the grounds of the Villa Barberini, near Castel Gandolfo, a summer residence of the pope located some fifteen miles south of Rome. As in Lake Nemi, Inness pictures a solitary, cowled monk, a staff in his hand, strolling the grounds of an enclosed garden. He is dwarfed, first, by a tall stone wall, behind him and again by a bank of extremely tall, slender Italian pines in the middle distance. Although Italian pines are common features around Rome and the Marches, and although Inness had painted the Villa Barberini on many occasions, only in The Monk does he set the dark shapes of the pine arbors so effectively against a glowing yellow-ocher sky. By using unified brush marks to diminish nearly to eliminate details within these arbors, Inness devised these natural forms as abstract patterns of interconnected ensiform shapes. He must have been particularly delighted by the way in which they create, at their upper edge, a lissome, serpentine line of vivid beauty.
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