沉睡的维纳斯

西方绘画作品浩如烟海，题材丰富。其中女性便是西方绘画大师笔下常见的题材，不少世界名画中都有她们的身影。她们之中有神话故事中的唯美女神，有高雅端庄的贵妇，有贤淑神秘的女人，也有恬静纯真的邻家女孩，总之，都是气质非凡。

Western paintings abound in subjects. Among them, women are common themes in the works of Western painting masters, and they are found in many world famous paintings. Among them are the aesthetic goddess in the fairy tale, the elegant and dignified lady, the virtuous and mysterious woman, and the quiet and innocent girl next door. In short, they all have extraordinary temperament.

▲五感觉（The Five Senses） 奥地利 汉斯·马卡特（1840-1884） 油画

▲ the five senses Austrian Hans makat (1840-1884) oil painting

五感觉，是指眼、耳、鼻、舌、身，画家画了5个美女代表了5种感觉，左起：触觉，听觉，视觉，嗅觉，味觉。1893年，马卡特去世9年后，在美国芝加哥世界哥伦布博览会上，马卡特的作品《五感觉》代表奥地利参展：五个完美女性裸体成为这届世博会最吸引观众的美术作品。从此之后，对马卡特作品的疯狂追捧在欧美持续了至少20年。

Five senses refer to eyes, ears, nose, tongue and body. The painter painted five beauties, representing five senses, starting from the left: touch, hearing, vision, smell and taste. In 1893, nine years after makat's death, makat's work "five senses" represented Austria at the world Columbus Expo in Chicago: five perfect female nudes became the most attractive art works of the Expo. Since then, the crazy pursuit of makat's works has lasted for at least 20 years in Europe and America.

▲ 安格尔 《泉》

▲ angel's spring

《泉》是安格尔最著名的画作之一。为了创作好这幅作品，安格尔竟酝酿了36年的时间。它通过一个抱罐倒水的裸体少女形象，表现了画家终身追求的古典美。这幅作品的动人之处，还在于它匠心独具地表现了少女的纯洁，在画面上创造出了一种恬静、思雅和抒情诗般的意境。实际上，画中少女上肢的姿态并不符合人体的动态规律。安格尔为了使少女的动态看起来更美，为她编造了这样一个不可能存在的动作。这幅作品对于水的表现非常神奇。从水瓶中倾泻而出的泉水是宁静的画面上最具动态的因素。但经过画家的巧妙处理，飞泻的清泉非但没有打破画面的宁静感，还使之平添了一种流动的韵律。

Spring is one of angel's most famous paintings. In order to create this work well, angel has been brewing for 36 years. Through the image of a naked girl holding a pot and pouring water, it shows the classical beauty that the painter pursues all his life. The moving part of this work is that it creatively shows the purity of girls and creates a quiet, elegant and lyrical artistic conception on the picture. In fact, the posture of the girl's upper limbs in the painting does not conform to the dynamic law of the human body. In order to make the girl's movement look more beautiful, angel made up such an impossible action for her. This work is very magical for the performance of water. The spring water pouring out of the water bottle is the most dynamic factor in the quiet picture. But after the artist's ingenious treatment, the flowing spring not only did not break the tranquility of the picture, but also added a flowing rhythm to it.

▲莱顿 《克琳娜·达格尔的宁芙女神》

▲ Leighton's nymph of Corina Dagger

英国著名唯美派画家莱顿于1880年创作代表作品。Nymph中文被译为“宁芙”，即“水妖精”的意思，宁芙又被称为“美丽的水中女神”。在描绘人物时还采用了夸张的比例，有意加长的腿部，塑造出宁芙女神黄金分割的完美身材。

Leighton, a famous British Aestheticist, created his representative works in 1880. Nymph is translated into Chinese as "Ningfu", which means "water goblin". Ningfu is also known as "beautiful water goddess". In depicting the characters, exaggerated proportions and deliberately lengthened legs are also used to create the perfect figure of Ningfu goddess in golden section.

▲ 安格尔《大宫女》

▲ Angell's great palace maid

这幅作品描绘了具有东方风韵的后宫妃妾，笔法感性富有光泽，人物体态光滑柔美，神情充满神秘。

This painting depicts the imperial concubines in the harem with oriental charm. The strokes are perceptual and shiny, the characters are smooth and beautiful, and the expression is full of mystery.

▲ 拉图尔《蓬帕杜侯爵夫人像》

▲ portrait of the Marquis pompadou by Latour

这位侯爵夫人本是路易十五的情妇，那一时代艺术家们的保护者。拉图尔以水粉笔触刻画出了蓬帕杜侯爵夫人的性格，高雅而傲慢，细腻又成熟。

The Marquis was the mistress of Louis XV and the protector of artists of that era. Latour depicts the character of the Marquis pompadou with gouache, elegant and arrogant, delicate and mature.

▲ 伊凡.尼占拉耶维奇.克拉姆斯柯依《无名女郎》

▲ Ivan nizhanrajevich kramskoy, the unknown girl

画家伊凡.尼占拉耶维奇.克拉姆斯柯依（1837-1887年）出生在俄国一个贫寒的市民家庭。1853年因偶然的机会来到彼得，1857年考入彼得堡皇家美术学院。离开学院后，克拉姆斯柯依与同学成立“彼得堡自由美术家协会”。

The painter Ivan nizhanlajevich kramskoy (1837-1887) was born in a poor civil family in Russia. He came to Peter by chance in 1853 and was admitted to the Royal Academy of Fine Arts in Petersburg in 1857. After leaving the college, kramskoy and his classmates established the "Petersburg free Artists Association".

这是一幅颇具美学价值的性格肖像画，画家以精湛的技艺表现出对象的精神气质。画中的无名女郎高傲而又自尊，她穿戴着俄国上流社会豪华的服饰，坐在华贵的敞蓬马车上，背景是圣彼得堡著名的亚历山大剧院。究竟“无名女郎”是谁，至今仍是个谜。画家在肖像画上创造了一种新的表现风格，即用主题性的情节来描绘肖像，展示出一个刚毅、果断、满怀思绪、散发着青春活力的俄国知识女性形象。作品现藏于莫斯科特列恰科夫美术馆。

This is a character portrait with great aesthetic value. The painter shows the spiritual temperament of the object with exquisite skills. The unknown girl in the painting is arrogant and self-esteem. She wears the luxurious clothes of Russian upper class society and sits on a luxurious open carriage. The background is the famous Alexandria theater in St. Petersburg. Who the "unknown girl" is is still a mystery. The painter created a new style of expression in portrait painting, that is, depicting the portrait with thematic plot, showing a resolute, decisive, full of thoughts and youthful image of Russian intellectual women. The works are now collected in Moscow's trechakov Art Museum.

▲ 伊凡·尼占拉耶维奇·克拉姆斯柯依《月夜》

▲ Ivan nizhanrajevich kramskoy, moonlit night

《月夜》是被人称为“爱情诗”的风景油画，它继承了俄罗斯艺术的民族性与文学性，叙述了一个美丽的故事。画家用银灰色的调子，来渲染恬静的夏夜，没有微风，参天的菩提树显得神秘幽邃，夜色中的蔷薇花散发出清香。这样的时刻，一个穿白色衣裙的美丽少女，独坐池塘边的长椅上，她面前的池塘中漂浮着睡莲和菖蒲。人物与环境处理得十分和谐，迷蒙的月光洒满林中，恍若仙境，令人向往，使人陶醉。与作者9年前完成的《五月之夜》，可称为姊妹篇。作品现藏于特列恰柯夫美术馆。

Moonlight is a landscape oil painting called "love poem". It inherits the nationality and literariness of Russian art and tells a beautiful story. The painter uses a silver gray tone to render a quiet summer night. There is no breeze. The towering bodhi tree looks mysterious and deep, and the rose flowers in the night exude a fragrance. At such a moment, a beautiful girl in a white dress sat alone on a bench by the pond. Water lilies and calamus floated in the pond in front of her. The characters and the environment are handled in harmony. The misty moonlight is scattered all over the forest, like a fairyland, which is yearning and intoxicating. And the night of May, completed by the author 9 years ago, can be called a sister article. The works are now collected in the trechakov Art Museum.

▲ 柯罗《珍珠女郎》

▲ Koro's Pearl girl

柯罗（1796—1875年），法国杰出的风景画家。他目睹了美术史上的古典主义、浪漫主义、现实主义的兴衰，直至印象主义的兴起。因而在柯罗的身上染上了各个时代的混合色彩与艺术风格的因素。他40岁以后，画风倾向于巴比松派自然写生的乐趣，成为一个在艺术上独具奇趣的风景画家。

Corot (1796-1875), an outstanding French landscape painter. He witnessed the rise and fall of classicism, romanticism and realism in the history of art until the rise of Impressionism. Therefore, Corot was infected with the factors of mixed color and artistic style of various times. After the age of 40, his painting style tended to the fun of Barbizon's natural painting and became a unique landscape painter in art.

柯罗笔下妇女的表情，都有一个共同性，即是凝视与沉思性，缺少笑容，说明画家中是在追求某种讨好人的表面效果。模特儿按照画家指定的意大利民间服饰来进行打扮。此外，这幅肖像标志着柯罗在人物画上的风格的衡定统一性，那就是始终以和谐和完整的艺术形象，使画面产生诗一般清新、浓郁的气氛，也如他的风景画那样。作品现藏于巴黎卢浮宫。

The expressions of women in Corot's works have a common identity, that is, staring and meditating, lack of smile, which shows that the painter is pursuing some kind of pleasing surface effect. The models dress up according to the Italian folk costumes designated by the painter. In addition, this portrait marks the balance and unity of Corot's style in figure painting, that is, it always produces a poetic fresh and rich atmosphere with a harmonious and complete artistic image, just like his landscape painting. The work is now hidden in the Louvre in Paris.

▲ 维吉·勒·布兰《维吉·勒·布兰夫人和她的女儿》

▲ vigil Le Blanc Mrs. vigil Le Blanc and her daughter

法国巴黎卢浮宫藏《维吉·勒·布兰夫人和她的女儿》是作者最出色的代表作，也是她的自我写照。上述肖像画的特点在这幅作品中都得到了充分的体现。这是她32岁时所作，十分潇洒优雅。女画家装束朴素典雅，端庄秀丽，目光温柔而深情。她俯身坐着，双臂围抱着女儿的脸。女儿天真可爱，把脸紧贴母亲，搂着脖子，显得无限妩媚。作品将母女之爱、亲子之情画得十分动人，也表现了画家自己的温婉多情。构图采用了稳定匀称的三角形，色彩雅致和谐，线条优美洗练，背景不加任何陪衬，更突出了主题。

Mrs. vigil Le Blanc and her daughter, collected in the Louvre in Paris, France, is the author's most outstanding masterpiece and a portrayal of herself. The characteristics of the above portraits are fully reflected in this work. It was made when she was 32. It was very natural and elegant. The female painter's dress is simple and elegant, dignified and beautiful, and her eyes are gentle and affectionate. She sat down with her arms around her daughter's face. The daughter is naive and lovely. She sticks her face close to her mother and hugs her neck, showing infinite charm. The works draw the love between mother and daughter and the love between parents and children very moving, and also show the painter's own gentle and affectionate. The composition adopts stable and symmetrical triangles, with elegant and harmonious colors and beautiful lines. The background does not add any foil, which highlights the theme.

▲ 拉斐尔 《披纱巾的少女》

▲ Raphael, the girl in scarf

拉斐尔（1483~1520年），意大利画家，意大利“文艺复兴三杰”中最年轻的一位，代表了文艺复兴时期艺术家从事理想美的事业所能达到的巅峰。他从小就随父亲学画，11岁就进入画室，创作了大量的圣母像。他的作品充分体现了安宁、协调、和谐、对称以及完美和恬静的秩序。

Raphael (1483 ~ 1520), an Italian painter, is the youngest of Italy's "three masters of the Renaissance", representing the peak that artists in the Renaissance can achieve in the cause of ideal beauty. He studied painting with his father since childhood. At the age of 11, he entered the studio and created a large number of statues of the virgin. His works fully embody peace, coordination, harmony, symmetry and perfect and quiet order.

《披纱巾的少女》，又名《冬娜·薇拉塔》，女郎闪光的眼睛，安详而略含倩笑的脸庞华，贵衣裙的百褶纹采用浅绛和银灰的调子来表现，与肌肤的色彩相辉映。这种大胆的用亮色来转换色彩的手法，显示了拉斐尔对绘画语言的自如运用，在16世纪的西方油画中实属首创。塑造了一位平凡而又具审美理想的女性。在画家的心目中，这位平凡的冬娜·薇拉塔，是一种理想的女性美。如果拉斐尔真是以这一幅“披纱的夫人”上的女人为其所有最成功的圣母像作模特儿的。作品现藏于佛罗伦萨庇蒂美术馆。

The girl in the scarf, also known as Donna verata, has shining eyes, a calm and slightly smiling face, and the pleats of your dress are expressed in light crimson and silver gray tones, which reflect the color of your skin. This bold technique of changing colors with bright colors shows Raphael's free use of painting language, which is the first in Western oil painting in the 16th century. Created an ordinary and aesthetic ideal woman. In the artist's mind, the ordinary Donna verata is an ideal female beauty. If Raphael really models all his most successful Madonna with the woman on this "Veiled Lady". The work is now collected in the Pitty Art Museum in Florence.

▲ 德拉克洛瓦《自由引导人民》

▲ Delacroix "freedom leads the people"

德拉克洛瓦把政治的意义融入在绘画中，将自由与人性化为一体，引导着法兰西人民勇往直前。画中女性的美丽与不屈不失为一个时代的象征。

Delacroix integrated the meaning of politics into painting, integrated freedom and humanity, and guided the French people to move forward bravely. The beauty and unyielding of women in the painting can be regarded as a symbol of an era.

▲ 玛丽·卡萨 《花园中的年轻女郎》

▲ young girls in the garden by Mary CASA

这幅作品传神地表现了一位年轻女子的纯真姿态。画面上少女的认真、专注神情，与迷人的体态，都融在了山花遍野的大自然中。

This work vividly shows the innocent posture of a young woman. The girl's serious, focused look and charming posture on the screen are integrated into the nature with mountain flowers everywhere.

▲ 温特哈尔特《里姆斯基·科萨科夫夫人》

▲ winterhart, Mrs. Rimsky kosakov

在西方历代画家们的笔下，表现贵妇人与美少女似乎是亘古不变的主题，这幅作品把贵妇人的高贵纯洁，典雅气质融为一体。里姆斯基·科萨科夫是俄国最伟大的音乐家之一，他的音乐堪称俄国乐派的典范，其夫人古典与浪漫的诗意情怀，更能代表俄罗斯的精神。

In the works of Western painters of all ages, the expression of ladies and beautiful girls seems to be an eternal theme. This work integrates the noble, pure and elegant temperament of ladies. Rimsky kosakov is one of the greatest musicians in Russia. His music can be regarded as a model of Russian music school. His wife's classical and romantic poetic feelings can better represent the Russian spirit.

▲ 雷诺阿《康达维斯小姐的画像》

▲ Renoir's portrait of miss condavis

这幅作品是为一位银行家的女儿所作，画像上青春美丽的少女，含羞带笑，纯真优雅，给人以恬静与向往。

This work is for the daughter of a banker. The portrait shows a young and beautiful girl, shy and smiling, pure and elegant, giving people peace and longing.

▲ 普基廖夫《不相称的婚姻》

▲ pkilev's disproportionate marriage

普基廖夫（1832-1890年），俄国19世纪60年代最有声望的风俗画家。1863年他还是莫斯科绘画雕刻建筑学校的应届毕业生时，就展出了名作《不相称的婚姻》。

Pujiliov (1832-1890) was the most prestigious genre painter in Russia in the 1860s. When he was a fresh graduate of the Moscow School of painting, sculpture and architecture in 1863, he exhibited his masterpiece disproportionate marriage.

不相称的婚姻描绘了青春少女与老者结合的爱情悲剧。画家以特写式的构图，展开一个结婚场面：神父将结婚戒指戴到一个年仅十六七岁的新娘的手上，而她身旁的“新郎”则是一个可以作她祖父的白发老头。新娘低头无奈，右手无力地拿着蜡烛。画家抓住了这种病态的婚姻，揭示了卑劣的社会交易和对妇女的摧残。

Disproportionate marriage depicts the love tragedy of the combination of young girls and the elderly. The artist unfolds a wedding scene with a close-up composition: the priest puts a wedding ring on the hand of a bride who is only 16 or 17 years old, and the "groom" next to her is a white haired old man who can be her grandfather. The bride bowed her head helplessly, holding a candle in her right hand. The painter grasped this morbid marriage and revealed the despicable social trade and the destruction of women.

据说这是画家自己的亲身经历。那老新郎确有其人，同老头并排站着的新娘，则是普基寥夫的未婚妻，画家至死也没有忘记这一沉痛打击。这幅画问世时，当即遭到官方的反对，表面理由是画中人与真人大小等同，这只有在历史画中才允许。实际上是它刺痛了官僚贵族的心，击中了丑恶制度的要害。作品现藏于特列恰科夫美术博物馆。

It is said that this is the painter's own experience. The old bridegroom was real, and the bride standing side by side with the old man was pugilio's fiancee. The painter never forgot this painful blow to his death. When the painting came out, it was immediately opposed by officials, ostensibly on the grounds that the people in the painting were the same size as real people, which is allowed only in historical paintings. In fact, it stabbed the hearts of bureaucrats and nobles and hit the key of the ugly system. The works are now collected in the trechakov Art Museum.

▲ 格哈德《贝蒂》

▲ Gerhard's Betty

画家以照相般精确的手法描绘女儿贝蒂，画面上贝蒂转过身去红、白、粉的服装衬托出脑后的发髻，背影美妙传神，且给人以淡淡的忧伤。

The painter depicts her daughter Betty with photographic accuracy. In the picture, Betty turns around. The red, white and pink clothes set off the bun behind her head. Her back is beautiful and vivid, and gives people a touch of sadness.

▲弗朗索瓦·热拉尔 《雷卡米埃夫人》 卡那瓦莱博物馆藏

▲ Madame Le Camier by Fran ç OIS Gerard, collection of the canavalle Museum

这是与达维德为同一题材的肖像画。达维德所画的是横卧的雷卡米埃夫人，热拉尔画的是竖幅的。热拉尔以清新的笔调和激情完成了此画，为了突出夫人细润的肌肤和洁白的衣裙，在背景上又加了一块红色布幕，夫人侧身斜倚，姿态优雅，赤着的双足，更显出无比妩媚和雅致的气质。肖像画完后，受到夫人的称赞。

This is a portrait on the same subject as David. Davide painted Madame Le Camier lying horizontally, and Gerard painted in vertical. Gerard completed the painting with fresh style and passion. In order to highlight the lady's fine skin and white dress, a red curtain was added on the background. The lady leaned on her side, with elegant posture and bare feet, showing incomparably charming and elegant temperament. After the portrait was painted, he was praised by his wife.

▲ 戈雅《裸体的玛哈》

▲ Goya's naked Maha

玛哈在西班牙语中是指“姑娘”或“漂亮姑娘”的意思。戈雅所画的“玛哈”是谁，众说不一，至今仍是个迷。这幅《裸体的玛哈》，“玛哈”仰卧于榻上，头枕手臂，微微斜倚，腰肢纤细，按照当时学院派绘画审美的标准来看，她的头略大些，脚尖不合解剖结构，显然是画家有意为之。不论怎样，这幅作品给他带来了极大的声誉。戈雅还绘制了一幅表情、姿态一模一样的《着衣的马哈》。现藏于西班牙马德里的普拉多博物馆。

Maha means "girl" or "beautiful girl" in Spanish. There are different opinions on who the "Maha" painted by Goya is, which is still a mystery. In this painting of naked Maha, "Maha" lies on her back on the couch, with her head resting on her arms and leaning slightly, and her waist and limbs are thin. According to the aesthetic standards of academic painting at that time, her head is slightly larger, and her toes are not in accordance with the anatomical structure, which is obviously intentional by the painter. Anyway, this work has brought him great reputation. Goya also drew a as like as two peas in the face. It is now stored in the Prado Museum in Madrid, Spain.

▲ 戈雅《着衣的玛哈》

▲ Goya's Maha in clothes

《着衣的马哈》穿一件紧贴身子的白衣服，束一玫瑰色宽腰带，上身套一件黑色大网格金黄色短外衣，暖调子以红褐色为背景，使枕头、衣服和铺在绿色软榻上的浅绿绸子显得分外热烈；而在《裸体的马哈》上，背景减弱了。姑娘的娇柔躯体被软榻上墨绿色天鹅绒的冷调子所加强。

Maha in clothes: wearing a white dress close to the body, a rose colored wide belt, and a short black grid golden yellow coat on the upper body. The warm tone is red brown as the background, making the pillows, clothes and light green silk on the green soft couch particularly warm; In naked Maha, the background is weakened. The girl's delicate body was strengthened by the cold tone of dark green velvet on the soft couch.

据一位研究戈雅艺术的美术史家维尼雅沙说，这幅《裸体的玛哈》是在外光下画的，理由是身体上有灰蓝色的阴影，但另一位研究者则否认此说。着衣玛哈的姿态神情与裸体玛哈完全相同。软质丝绸紧身衣包裹着玛哈的身体，仍然显示出玛哈丰满肉体的魅力，由于含蓄而更具性感。画家充分运用色彩来渲染情感：玛哈身着的白色衣裤，腰间束一玫瑰色宽腰带，上身套一件敞开的黑色大网格金黄色的短外衣，显得高贵、纯洁而热烈。背景的红褐色呈暖色调，与铺在软塌上的浅绿色绸子形成对比，由此可见画家作画时的热情。

According to veneyasha, an art historian who studies Goya art, the naked Maha was painted under external light on the grounds that there were gray and blue shadows on the body, but another researcher denied this. Dressed Maha's posture and expression are exactly the same as naked Maha. Soft silk tights wrap Maha's body, still showing the charm of Maha's plump body, which is more sexy because of its implication. The painter makes full use of color to render emotion: Maha wears white clothes and trousers, a rose wide belt around her waist, and an open black grid golden short coat on her upper body, which looks noble, pure and warm. The reddish brown of the background is warm, which is in contrast to the light green silk paved on the soft collapse, which shows the painter's enthusiasm when painting.

▲ 乔尔乔内《沉睡的维纳斯》

▲ Giorgione's sleeping Venus

这是乔尔乔内最成功的油画作品。作品中的维纳斯展示出造化之美，没有任何宗教女神的特征：在自然风景前入睡的维纳斯，躯体优美而温柔，形体匀称地舒展，起伏有致，与大自然互为呼应。不论是形体、色彩、柔和的线条，还是景色的层次上，这幅画都达到了高度的统一。

This is Giorgione's most successful oil painting. The Venus in the work shows the beauty of creation without the characteristics of any religious Goddess: Venus, who falls asleep in front of the natural scenery, has a beautiful and gentle body, a symmetrical stretch and ups and downs, and echoes with nature. The painting has reached a high degree of unity in form, color, soft lines and scenery.

▲乔尔乔内《镜前的维纳斯》

▲ Giorgione's Venus in front of the mirror

女子裸体绘画在17世纪封建专制的西班牙是极其罕见的，这幅《镜前的维纳斯》也是目前我们所能见到的委拉士开兹唯一一幅女性裸体绘画：这悠闲、侧倚的动势，这丰满、健美的身姿，使我们不禁想到威尼斯画派乔尔乔纳《沉睡的维纳斯》；但是，这扭曲而不失端庄的曲线美感，这背向观众而不失生命欲望的青春涌动，这寓世俗美于理想美的表现方式是富有创作性的，也是威尼斯画派中所没有的。这幅画标明了17世纪西班牙艺术家人本精神的觉醒，也标明了17世纪西班牙人文主义精神在绘画上的独特显示。

Female nude painting is extremely rare in feudal autocratic Spain in the 17th century. This Venus in front of the mirror is also the only female nude painting in Velasquez that we can see at present: this leisurely and leaning movement, this plump and bodybuilding posture, makes us think of the sleeping Venus by Joel Jonah of the Venetian painting school; However, this twisted but dignified curved beauty, this youth surging back to the audience without losing the desire for life, and this expression of secular beauty in ideal beauty is creative, which is not found in the Venetian painting school. This painting shows the awakening of the humanistic spirit of Spanish artists in the 17th century and the unique display of the humanistic spirit of Spain in the 17th century.

▲ 阿道夫·威廉·布格罗《慈善》

▲ Adolf William Bouguereau's charity

这是阿道夫·威廉·布格罗创作于1859年的一幅油画，现收藏于美国密歇根大学美术馆。阿道夫·威廉·布格罗是法国19世纪上半叶法国学院派绘画的最重要人物。他以神话和寓言题材的绘画吸引大批追随者。一生获得多种殊荣，成为当时法国最著名的画家。其作品以高度完整、技法全面和擅长表现多愁善感的题材为特征。在人物造型处理上，为了追求高度的优美，舍弃技法创新，维护官方正统的艺术，排斥其他艺术流派，因而被现代批评家指责为保守的画家。

This is an oil painting created by Adolf William Bouguereau in 1859. It is now collected in the Art Museum of the University of Michigan. Adolf William Bouguereau is the most important figure in French academic painting in the first half of the 19th century. He attracted a large number of followers with his paintings on myths and fables. He won many honors in his life and became the most famous painter in France at that time. His works are characterized by high integrity, comprehensive techniques and good at expressing sentimental themes. In the treatment of character modeling, in order to pursue a high degree of beauty, abandon technical innovation, maintain official orthodox art and exclude other art schools, it has been accused by modern critics as a conservative painter.

▲ 波提切利《维纳斯的诞生》

▲ Botticelli's birth of Venus

维纳斯即古代希腊神话中的阿芙罗狄德，是爱与美的女神。根据希腊神话描述，维纳斯是克洛诺斯把自己的父亲乌拉诺斯的肢体投入海中时，从海中的泡沫中诞生的。15世纪后半叶，佛罗伦萨画派、艺术大师波提切利的《维纳斯的诞生》即表现了这个爱与美的女神诞生时的情景：

Venus, Aphrodite in ancient Greek mythology, is the goddess of love and beauty. According to Greek mythology, Venus was born in the foam of the sea by the body of his father, Uranus, who was put into the sea by his father. In the second half of the 15th century, the birth of Venus by Botticelli, a master of Florentine painting school and art master, showed the scene when the goddess of love and beauty was born:

少女维纳斯刚刚跃出水面，赤裸着身子踩在一只荷叶般的贝壳之上；她的身材修长而健美，体态苗条而丰满，姿态婀娜而端庄；一头蓬松浓密的散发与光滑柔润的肢体形成了鲜明的对比，烘托出了肌肉的弹性和悦目的胴体；风神齐菲尔吹着和煦的微风，缓缓的把她送到了岸边；粉红、白色的玫瑰花在她身边飘落，果树之神波摩娜早已为她准备好了红色的新装；碧绿平静的海洋，蔚蓝辽阔的天空渲染了这美好、祥和的气氛，一个美的和创造美的生命诞生了。

The girl Venus just jumped out of the water and stepped naked on a lotus leaf like shell; Her figure is slender and strong, her body is slim and plump, and her posture is graceful and dignified; A fluffy and dense hair forms a sharp contrast with smooth and soft limbs, setting off the elasticity of muscles and pleasing carcass; Zephyr, the God of the wind, blew a warm breeze and slowly sent her to the shore; Pink and white roses fell around her, and Pomona, the God of fruit trees, had already prepared a new red dress for her; The green and calm sea and the blue and vast sky render this beautiful and peaceful atmosphere, and a beautiful and creative life is born.

▲ 阿道夫·威廉·布格罗《森林之神与仙女们》

▲ Adolf William Bouguereau, the gods of the forest and the fairies

这是阿道夫·威廉·布格罗创作的一幅充满着形式美感的作品，描绘了美丽的仙女们与森林之神在跳舞、嬉戏，塑造了充满诗意的神话人物形象及相互关系被刻划得维妙维肖。在森林幽暗的背景前，女裸体被画家以唯美的形式给予完美展示，特别是近景处的那位裸体女郎，背部丰腴柔美，线条流畅，匀称和谐，堪称无可挑剔，炉火纯青。这是一幅弥漫着音乐与诗情的作品，是“回到自然”的浪漫主义杰作。

This is a work full of formal beauty created by Adolf William Bouguereau. It depicts beautiful fairies dancing and playing with the God of the forest, creates poetic mythological characters and their relationship, and is vividly portrayed. In front of the dark background of the forest, the female nude was perfectly displayed by the painter in the form of aestheticism, especially the nude girl in the close range, with plump and soft back, smooth lines, symmetry and harmony, which can be called impeccable and perfect. This is a work filled with music and poetry. It is a romantic masterpiece of "returning to nature".

▲ 阿道夫·威廉·布格罗《仙女》

▲ Adolf William Bouguereau, the fairy

布格罗集女性人体美于这一幅画中，罗丹曾这样赞美：“人体，尤其是心灵的镜子，最大的美就在于此，我们在人体中崇仰的不仅是如此美丽的外表，而是那使人体透明发亮的内在的光芒。”布格罗以古典主义的美学观念，运用古典艺术技巧，精致地描绘了理想的美人，她们非人间所有，因此人们称她们为仙女。

Bouguereau integrates the beauty of the female human body in this painting. Rodin once praised: "the greatest beauty of the human body, especially the mirror of the soul, lies in this. What we admire in the human body is not only such a beautiful appearance, but the internal light that makes the human body transparent and shiny." Bouguereau uses classical artistic skills with classical aesthetic concepts, It depicts the ideal beauties exquisitely. They are not owned by the world, so people call them fairies.

▲ 阿道夫·威廉·布格罗《迷失的仙女》

▲ Adolf William Bouguereau, the lost Fairy

《迷失的仙女》是布格罗的作品，还有一个名字叫《迷失的星星》。这幅画的两个名字，表示的都是同一个希腊神话。提坦巨人阿特拉斯有七个女儿，因为受到猎人奥利安的追杀，因此被天神宙斯变成了七颗星星。在布格罗的这幅画中，着力表现的是名叫梅洛佩第七位仙女，而把六颗明亮的星星都放在了画面的远景处。这幅构图完美的裸女画所用艺术手法并不“纯粹”。画面主体是一个悬在空中的裸体女性，姿势很像是一个雕塑。1884年瓦拉佟等人成为这幅画的第一批收藏家，并印在了邮票上，变成第七颗星星的仙女名叫梅洛佩，由于曾与凡间的一名男子交欢，感到羞愧，所以发的光就比较微弱了。不过在布格罗的这幅画中，画家选中用于表现的却正是这第七位仙女，因为他把六颗明亮的星星都放在了画面的远景处，而近景里突出的正是这第七颗星。

The lost fairy is the work of Bouguereau, and another name is the lost star. The two names of this painting represent the same Greek myth. Titan atlas had seven daughters, who were hunted by Orion, so they were turned into seven stars by Zeus. In this painting, Bouguereau focuses on the seventh fairy named Merope, and puts six bright stars in the far view of the picture. The artistic technique used in this nude woman painting with perfect composition is not "pure". The main body of the picture is a naked woman hanging in the air, whose posture is very much like a sculpture. In 1884, vara Tong and others became the first collectors of this painting and printed it on stamps. The fairy who became the seventh star was named Merope. Because she was ashamed of having sex with a man on earth, the light was relatively weak. However, in Bouguereau's painting, the painter chose to show the Seventh Fairy, because he put six bright stars in the far view of the picture, and the seventh star stands out in the close view.

▲ 阿道夫·威廉·布格罗《幸福的灵魂》

▲ Adolf William Bouguereau, happy soul

布格罗是19世纪末20世纪初艺术界最具影响力的人物之一，他的名言是：“先生！我经常告诉我的学生们，人们必须寻求美和真，必须使作品达到极致。只存在一种画，就是能把毫无瑕疵的美和完善呈现到人们眼前的画，如同委罗内塞和提香的作品一样。”《幸福的灵魂》是他1895年的作品。

Bouguereau is one of the most influential figures in the art world at the end of the 19th century and the beginning of the 20th century. His famous saying is: "Sir, I often tell my students that people must seek beauty and truth and make their works to the extreme. There is only one kind of painting that can present flawless beauty and perfection to people, just like the works of Veronese and Titian." Happy soul was his work in 1895.

▲鲁本斯 《海伦娜·弗尔曼肖像》 79×54cm 现存伦敦国立美术馆

▲ Rubens portrait of Helena Firman 79 × 54cm extant National Gallery, London

这幅肖像人物油画是用漂亮和生动的色彩笔触来描绘的，线条十分流畅。和他的主题性绘画一样，举凡人体形象，都画得骨质健壮，过于肉感，皮肤细嫩，扭捏作态。这是鲁本斯笔下的妇女形象的特点，可能是他所处的上流社会环境，迎合上层贵族的审美要求，所以他笔下的人物，尤其是妇女几乎都是贵妇人。在这里画家还刻画了形象的性格特征：她的眼神流露出一种乐观幸福的样子，构图严谨，色彩对比强烈；服饰显示了她的贵族身份，但不傲气；从这幅肖像上，观众可以感觉到这位画家所寄托的那种与禁欲主义完全绝缘的生活热情

This portrait figure oil painting is painted with beautiful and vivid color strokes, and the lines are very smooth. Like his thematic paintings, all human images are painted with strong bones, too fleshy, delicate skin and twisting posture. This is the characteristic of Rubens's image of women, which may be due to his high-class social environment, which caters to the aesthetic requirements of the upper class nobility Almost all of his characters, especially women, are ladies. Here, the painter also depicts the personality characteristics of the image: her eyes show an optimistic and happy look, with rigorous composition and strong color contrast; her clothes show her aristocratic status, but not arrogant; from this portrait, the audience can feel that the kind entrusted by the painter is completely different from asceticism Passion for life。

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