亨利·马蒂斯《带绿色条纹的马蒂斯夫人像》

创作背景

油画《带绿色条纹的马蒂斯夫人像》作者是举世著名的法国野兽派画家马蒂斯。马蒂斯是法国盛行一时的野兽主义运动中最核心的人物，他与毕加索一起被视为20世纪法国画坛上的两位最重要的艺术家。图中这幅马蒂斯夫人像，画面十分沉静，而色彩却是典型的野兽主义画风，鲜艳、浓烈，笔法直率而粗放，画面效果很强烈。

作品简介

《带绿色条纹的马蒂斯夫人像》充分反映了马蒂斯野兽主义画风的特点。虽然此画的色彩极其浓重和强烈，但整个画面却显得十分沉静。这里的色彩完全是主观感受的产物，而绝非客观的如实模仿。据说，马蒂斯夫人曾身着黑衣摆好姿势地让他写生，可他所画出的，却是色彩鲜艳到极点的红衣人物肖像。在这幅画中，马蒂斯在人物面部的正中央画了一道绿色粗线;这条线成了全画的核心。不仅整个脸部的造型结构紧紧依附着这道绿线，而且，画中诸多要素都是靠这道线而得到统一和平衡。假如没有这道线，整个画面似将松散不整;正是靠着这条绿线，那黑色的双眼和双眉才不至于显得过分强烈，而那黑色的头发和绿色的衣领才得以衔接起来，脸才得以被妥善地“放在”了头发与衣服之间。这道绿线，还将头像与绿色的背景联系起来，使头部不会因为其一道道的红色和橙色块面，与绿色背景拉开距离，而破坏画面的平面感。为了强化这种平面感，画家有意地把画面左侧的背景画成橙色，从而将其拉到画面的前面，使我们觉得在背景与头像之间并没有距离。画中红绿两色的强烈对比，产生耀眼的闪烁效果，使画面充满了纯绘画性的魅力。画一个沉静的头像，会生出这样丰富的视觉效果，而这种效果竟是靠着精心地经营不同的色面而取得，这不得不让人惊叹马蒂斯驾驭色彩与笔触的超凡本领。

相关文摘

This depiction of the artist’s wife, Amélie, is one of Matisse’s most famous paintings and a masterpiece within 20th century portraiture. Much of its strength resides in its simple geometric structure and in the way in which the colours are combined. Spatial modulation is pared back to a minimum. Effects of light and shadow, which would have added depth to the image, have been translated into planes of colour instead. The painting was presumably painted in the autumn of 1905, when Matisse had returned to Paris after spending a summer in the fishing village of Collioure. Here, he and André Derain engaged in ever-wilder painterly experiments intended to release colour from its descriptive function, allowing it to act as a force in its own right. With its unorthodox use of colour, the painting is built on those experiments.

这幅描绘艺术家妻子艾米丽的画作是马蒂斯最著名的画作之一，也是 20 世纪肖像画中的杰作。这幅画的大部分力量在于其简单的几何结构和色彩组合方式。空间调制被削减到最低限度。光影效果本来可以增加图像的深度，但现在却被转化为色彩平面。这幅画大概是在 1905 年秋天画的，当时马蒂斯在科利尤尔渔村度过了一个夏天后回到了巴黎。在这里，他和安德烈·德兰进行了越来越疯狂的绘画实验，旨在将色彩从其描述功能中解放出来，让其成为一种独立的力量。这幅画以非传统的色彩使用为基础，建立在这些实验之上。

Did Madame Matisse really look like that? With a green line crossing her face? Yes and no! With the advent of modernism artists began to reject the visual idiom, i.e. the organisation of the visible that had been a common code for communication since the Renaissance. The prevalent ideal concerning illusionism, a strong reality effect, was now chal lenged. Paintings were no longer to seem natural, i.e. to make sense by repeating the “syntax" and the "vocabulary" that made rapid deciphering possible. We must still be able to recognise Madame Matisse. However, such recognition is now brought about by means other than the phantasms of realism. In a sense Matisse can be said to be working a little like Cranach did in his portrait of Luther (no. 3). He condenses the phenomenon (the model) to its fundamental structure, thereby creating an icon - with a green stripe that we eventually accept as meaningful.

马蒂斯夫人真的长得那样吗?脸上有一条绿线?是也不是!随着现代主义的出现，艺术家们开始拒绝视觉语言，即自文艺复兴以来一直是交流的通用代码的可见组织。流行的幻觉主义理想，即强烈的现实效果，现在受到了挑战。绘画不再显得自然，即通过重复那些使快速解读成为可能的“句法”和“词汇”来使其有意义。我们仍然必须能够认出马蒂斯夫人。然而，这种识别现在是通过现实主义的幻觉以外的其他方式实现的。从某种意义上说，马蒂斯的工作方式有点像克拉纳赫在他的路德肖像(第 3 号)中所做的那样。他将现象(模型)浓缩为其基本结构，从而创建一个图标——带有一条绿色条纹，我们最终会接受它的意义。

A stripe of provocative green cuts right down through Madame Matisse's concerned face, dividing it into two coloured halves. As a colour composition the painting is both daring and successful. There is balance and unity here, so we can shift effortlessly between observing the person and simply enjoying the triumphant, ornamental pyrotechnics of the com position as a whole. Observers of a feminist bent will describe Matisse's use of colour as having been created to please the omnipotent floating eye that watches and assesses everything from a distance. Matisse is perfectly happy to subordinate the individual, turning it into an ornament or decoration. This artwork and its title is an excellent example of how concern for the individual could be negotiated in favour of an interest in masculine mastery by means of aesthetics.

一道挑逗性的绿色条纹贯穿了马蒂斯夫人忧虑的脸庞，将其分成两半。作为一幅色彩构图，这幅画既大胆又成功。这里平衡而统一，所以我们可以毫不费力地在观察人物和欣赏整个构图的胜利和装饰烟火之间转换。具有女权主义倾向的观察者会将马蒂斯对色彩的运用描述为取悦那双无所不能的漂浮的眼睛，这双眼睛从远处观察和评估一切。马蒂斯非常乐意让个人处于从属地位，将其变成装饰品或装饰。这幅作品及其标题是一个很好的例子，说明如何通过美学将对个人的关注与对男性主宰的兴趣进行协商。