<p class="ql-block"> 八九十年代，中国引进了许多高端的美术展览，像《卢浮宫、凡尔赛宫250年画展》，《毕加索画展》，《达利画展》，《从苏尔瓦兰到毕加索 卡门·蒂森-博尔内米萨收藏精品展》，《哈默藏画展》等等。给我印象最深的就是美国石油大亨哈默私人藏品中，梵高的晚期作品《圣雷米精神病医院》，纯粹鲜艳的颜色，躁动扭曲的线条，让人看了血脉喷张，不敢直视。梵高是在用自己的生命作画，他的每一幅作品中那曲折流动着的是他身体里的血液。梵高的绘画实在太震撼了，从那时起我就对梵高的绘画眷恋痴迷。1983年我看到一本《The World of Van Gogh》，虽然我的英文水平很差，但我太喜欢梵高的绘画，还是力求翻译了出来。</p> <p class="ql-block">梵高绘画，线条中的色彩</p><p class="ql-block">Van Gogh's Drawings: Color in Line</p> <p class="ql-block"> 在梵高生命的最后两年里，他并没有把惊人的艺术才能全部用于油画。在阿尔勒和圣·雷米精神病院期间，他经常到附近的农村去画素描，正像他所有的作品一样，这些素描表现出他成熟的风格和非凡的技巧。因此，他的许多素描作品和他的油画一样毫不逊色，非常卓越。</p><p class="ql-block"> 甚至在单色绘画中，梵高熟练地运用了线条、凹凸的笔触和点线面的关系，使绘画作品具有丰富的色彩饱和度和色彩的变化，他巧妙地运用曲线、淡影线和小圆点点等手段来达到这一效果。尤其是他的风景画《从克奥到蒙特马尤》(1888年5月)，他的这幅风景画特别记录了他取得效果的方式。在前景中，短而宽的线条使山坡的植被显得紧密而松软，田野上斑斑点点的线条纹路使中间画面变得柔和深远，背景细致的描绘，使作品更具油画般丰富多彩的视觉效果，给绘画增添了精美。但是，梵高的绘画不仅是技巧的表现，在《麦田里的守望者》这幅与著名同名油画作品中，在茫茫无际翻滚的麦浪中守望者有种无助逼近的恐惧感，梵高的所有作品都源自于他强烈的创作灵感。</p><p class="ql-block"> “什么是绘画？他在一封信中写道，“绘画就是一个人能够克服一种无形的障碍，把自己感受到的东西表达出来。”</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">眺望阿尔城</p><p class="ql-block">View of Arles，May 1888.</p> <p class="ql-block">从克奥到蒙特马尤</p><p class="ql-block">The Crau from Montmajour, May 1888.</p> <p class="ql-block">火车车厢、电线杆和起重机的风景</p><p class="ql-block">Landscape with Railway Carriages, Telegraph Pole and Crane, Arles, June 1888.</p> <p class="ql-block">蒙特马尤的岩石</p><p class="ql-block">The Rock at Montmajour，July 1888.</p> <p class="ql-block">圣雷米精神病医院花园中的喷泉</p><p class="ql-block">The Fountain in the Garden of the Hospital, Saint-Rémy, May 1889.</p> <p class="ql-block">麦田里的守望者</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与常青藤</p><p class="ql-block">The Ston Bench and Ivy, Saint-Rémy, May 1889.</p> <p class="ql-block">圣雷米精神病医院的柏树</p><p class="ql-block">Cypresses, Saint-Rémy, 1889.</p> <p class="ql-block"> 在圣雷米精神病医院时，梵高所画的丰满有动感韵律的螺旋形柏树速写。这种像潦草字迹一样波纹般的线条，已成为他晚期作品的风格。自从他画完速写和油画的柏树之后，他的病情有所加重一直住在圣雷米精神病医院。他在柏树动荡与摇曳中看到并感受到了自己生命风雨飘摇的气息。</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>