高清大图局部细节 / DETAILS
受赛马热潮的启发，亨利·德·图卢兹-罗特列克创作了这幅石版画，分别推出彩色版本(即本作)与黑白版本。艺术家原本计划将彩色版纳入赛马主题组画系列出版，但该项目最终未能实现，《骑师》遂以单幅形式面世。这幅作品明显体现出罗特列克对埃德加·德加赛马题材画作的推崇，两人同样倾心于日本浮世绘木版画艺术。该石版画的诸多细节均透露着浮世绘的影响：整体平面的构图、大胆的裁切(尤其背景中马匹的头尾皆被截去)、青草淡绿与天空蓝紫的色调搭配，以及骏马奔腾向远方的戏剧性动态透视。然而这位年轻艺术家将日本美学融入自身视觉语言时，展现出了独到的创造性。与德加不同，罗特列克并未参照埃德沃德·迈布里奇的摄影作品，而是采用现实中不可能存在的"飞驰腾空"姿态来刻画马匹与骑手。
Motivated by the popularity of the races, Henri de Toulouse-Lautrec executed this lithograph both in color, seen here, and in black and white. He intended to publish the color version in a portfolio of horse-racing subjects, but the project never came to fruition andJockeywas published alone. The artist's admiration for Edgar Degas's horse-racing pictures is clear inJockey, and he shared Degas's appreciation of Japanese ukiyo-e woodblock prints. Particular elements of the lithograph reveal the influence of the Japanese woodcut: the overall flatness; the daring cropping—particularly of the background horse whose head and hindquarters have been omitted; the pale green hue of the grass and the blue-violet sky; and the dramatic, rushing perspective of the horses galloping into the distance. However, the younger artist incorporated the Japanese aesthetic into his own visual language in an entirely original way. Unlike Degas, Toulouse-Lautrec ignored Eadweard Muybridge's photographs and depicted his horse and rider in the physically impossible "flying-gallop" position.
