名画 › 爱德华·马奈

杜伊勒里花园音乐会
图片:Édouard Manet · 公有领域 · 维基共享资源 · 看大图

杜伊勒里花园音乐会

Music in the Tuileries

作者
爱德华·马奈
年代
1862 年
收藏
国家美术馆、休里巷画廊
地点
国家美术馆
题材
风俗艺术
材质
油彩、画布
尺寸
76.2 × 118.1(高 × 宽,多为厘米)
描绘对象
杜乐丽花园
馆藏编号
3260、NG3260
所有者
休·莱恩爵士
展览经历
Discovering the Impressionists: Paul Durand-Ruel and the New Painting

作品资料来自 Wikidata(CC0)。

作品介绍

《杜伊勒里花园音乐会》(法语:La Musique aux Tuileries),又译“杜乐丽音乐会”或“花园音乐会”,是法国写实派与印象派画家爱德华·马内创作于1862年的一幅布面油画。该画受哈尔斯和迭戈·委拉斯开兹的影响。而灵感可能受到波特莱尔的启发,他写过这样的文句:“对于全神贯注的演员及感情充沛的观察者而言,置身人群之中是一种无比的喜悦,正如坐看潮起潮落、享受转动、瞬间及浩瀚无边的感觉一般。”

休闲为其一生的创造主题之一。有人认为马奈没有完成该画。在这幅画里,马奈将他的朋友、艺术家、作家、音乐家及其家人包括画家自己画在作品中。显示在杜乐丽花园参加音乐会的情景。现藏于伦敦的英国国家美术馆。

摘自维基百科「杜伊勒里花园音乐会」,按 CC BY-SA 4.0 使用,繁体已转简体,去掉了参考文献、外部链接等尾部小节和表格,其余文字未作改动。

中文条目比较短,展开看英文维基百科的条目(英文原文)

Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest.

The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.

The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-Latour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.

The work measures 76.2 × 118.1 centimetres (30.0 × 46.5 in). It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh Lane in 1903. After Lane's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery (now known as The Hugh Lane). The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.

Painting materials

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Reception

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

摘自英文维基百科「Music in the Tuileries」,按 CC BY-SA 4.0 使用。

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