<p class="ql-block"> 八九十年代，中國引進了許多高端的美術(shù)展覽，像《盧浮宮、凡爾賽宮250年畫展》，《畢加索畫展》，《達(dá)利畫展》，《從蘇爾瓦蘭到畢加索 卡門·蒂森-博爾內(nèi)米薩收藏精品展》，《哈默藏畫展》等等。給我印象最深的就是美國石油大亨哈默私人藏品中，梵高的晚期作品《圣雷米精神病醫(yī)院》，純粹鮮艷的顏色，躁動扭曲的線條，讓人看了血脈噴張，不敢直視。梵高是在用自己的生命作畫，他的每一幅作品中那曲折流動著的是他身體里的血液。梵高的繪畫實在太震撼了，從那時起我就對梵高的繪畫眷戀癡迷。1983年我看到一本《The World of Van Gogh》，雖然我的英文水平很差，但我太喜歡梵高的繪畫，還是力求翻譯了出來。</p> <p class="ql-block">梵高繪畫，線條中的色彩</p><p class="ql-block">Van Gogh's Drawings: Color in Line</p> <p class="ql-block"> 在梵高生命的最后兩年里，他并沒有把驚人的藝術(shù)才能全部用于油畫。在阿爾勒和圣·雷米精神病院期間，他經(jīng)常到附近的農(nóng)村去畫素描，正像他所有的作品一樣，這些素描表現(xiàn)出他成熟的風(fēng)格和非凡的技巧。因此，他的許多素描作品和他的油畫一樣毫不遜色，非常卓越。</p><p class="ql-block"> 甚至在單色繪畫中，梵高熟練地運用了線條、凹凸的筆觸和點線面的關(guān)系，使繪畫作品具有豐富的色彩飽和度和色彩的變化，他巧妙地運用曲線、淡影線和小圓點點等手段來達(dá)到這一效果。尤其是他的風(fēng)景畫《從克奧到蒙特馬尤》(1888年5月)，他的這幅風(fēng)景畫特別記錄了他取得效果的方式。在前景中，短而寬的線條使山坡的植被顯得緊密而松軟，田野上斑斑點點的線條紋路使中間畫面變得柔和深遠(yuǎn)，背景細(xì)致的描繪，使作品更具油畫般豐富多彩的視覺效果，給繪畫增添了精美。但是，梵高的繪畫不僅是技巧的表現(xiàn)，在《麥田里的守望者》這幅與著名同名油畫作品中，在茫茫無際翻滾的麥浪中守望者有種無助逼近的恐懼感，梵高的所有作品都源自于他強烈的創(chuàng)作靈感。</p><p class="ql-block"> “什么是繪畫？他在一封信中寫道，“繪畫就是一個人能夠克服一種無形的障礙，把自己感受到的東西表達(dá)出來?！?lt;/p> <p class="ql-block"> Oil painting did not consume all of Van Gogh's prodigious artistic energy during the last two years of his life. While at Arles and the mental hospital at Saint-Rémy. he drew regularly, sketching scenes from the ncighboring countrgside. As with all his art.he brought to his drawing. a mastery of style and an ertraordinary technical facility. As a result, much of his graphic work is every bit as strong as his beet oils.</p><p class="ql-block"> Even when working in monochrome.Van Gogh could endow his drawingswith the depth,resolution and feel of color.He did this through a skilled use of sinuons lines,hatched strokes and patterns of dots.One of his landscapes in particular is an inventory of the ways he achieved his effects.In the foreground the use of short, broad lines makes the hill side vegetation seem close and coarce,the dappling dots of the fields soften the middle grou.d,the minutely executed backgrourd also helps infuse the drawing with the visual richness of a fine painting.But Vincent's drauings were more than displays of technique Cornfeld with Reaper, a study for the famous painting of the same anme,indicates a chilling awareness of the immidencs of death,which he saw as a reaper,Inevitably,all his work sprang from his overpowering creative impulses.</p><p class="ql-block"> "What is drawing?" he asked in a letter,"It is working oneself through an invisible iron wall that seems to stand between what one feels and what ons cando."</p> <p class="ql-block">眺望阿爾城</p><p class="ql-block">View of Arles，May 1888.</p> <p class="ql-block">從克奧到蒙特馬尤</p><p class="ql-block">The Crau from Montmajour, May 1888.</p> <p class="ql-block">火車車廂、電線桿和起重機的風(fēng)景</p><p class="ql-block">Landscape with Railway Carriages, Telegraph Pole and Crane, Arles, June 1888.</p> <p class="ql-block">蒙特馬尤的巖石</p><p class="ql-block">The Rock at Montmajour，July 1888.</p> <p class="ql-block">圣雷米精神病醫(yī)院花園中的噴泉</p><p class="ql-block">The Fountain in the Garden of the Hospital, Saint-Rémy, May 1889.</p> <p class="ql-block">麥田里的守望者</p><p class="ql-block">Cornfield with Reaper, Saint-Rémy. June 1889.</p> <p class="ql-block">圣雷米精神病院的石凳與常青藤</p><p class="ql-block">The Ston Bench and Ivy, Saint-Rémy, May 1889.</p> <p class="ql-block">圣雷米精神病醫(yī)院的柏樹</p><p class="ql-block">Cypresses, Saint-Rémy, 1889.</p> <p class="ql-block"> 在圣雷米精神病醫(yī)院時，梵高所畫的豐滿有動感韻律的螺旋形柏樹速寫。這種像潦草字跡一樣波紋般的線條，已成為他晚期作品的風(fēng)格。自從他畫完速寫和油畫的柏樹之后，他的病情有所加重一直住在圣雷米精神病醫(yī)院。他在柏樹動蕩與搖曳中看到并感受到了自己生命風(fēng)雨飄搖的氣息。</p><p class="ql-block"> While he was at the asylum at Saint-Rémy, Vincent sketched the cypress trees that abounded the<s>r</s>e-in the dynamic spirals, curlicues and undulating lines that charactenje his later style.He drew,and peinted, cypersses often during his stay at Saint-Rémy,finding aturbulent vitality in their graceful shape and mass.</p>