鲜花养护

来自威廉斯堡大桥爱德华霍普(Edward Hopper)高清作品欣赏

爱德华·霍普(Edward Hopper)高清作品《来自威廉斯堡大桥》

作品名:来自威廉斯堡大桥

艺术家:爱德华·霍普

年代:1928

风格:新现实主义

类型:城市风貌

尺寸:73.7 X 109.2厘米

这幅画的名称是指通过东河连接布鲁克林和曼哈顿的桥,这是一座巨大的钢吊桥,1903年大张旗鼓地开通。然而,Hopper的重点不在于桥本身的雄伟结构,而在于更平凡地观察河畔曼哈顿附近的景色。这个场景很可能是从德兰西街到大桥的,位于下东侧;霍珀站在那里会画一张草图,然后在格林威治村的工作室里画出最后的版本。运动。建筑物上的灯光明亮而稳定,唯一能看到的是一位坐在顶楼窗户里的女人。在四个普通公寓楼的可见部分,霍珀建立了微妙的节奏和重复的组合。窗户本身是矩形内的矩形,整齐地排列在立面中。它们的窗帘,在不同高度上升起和下降,在网格状的框架内创造微妙的变化。建筑物的飞檐和一对烟囱的轮廓在晴朗的天空下被清晰地界定出来。这种整体的水平和垂直形式的发挥是打破只有两个火灾逃逸的角度,并通过不突出的护栏的斜坡到桥梁,上升沿帆布底部略微对角线。这幅画的宽泛形式暗示着画布范围之外的景象的延续:我们可以想象街道、附近桥梁的梁,或许还有其他完全相同的褐石建筑,这些建筑都是那些在幻想中迷失的孤独的租户。

Title:From Williamsburg Bridge

artist:Edward Hopper

Date:1928

Style:New Realism

Genre:cityscape

Dimensions:73.7 x 109.2 cm

The title of this painting refers to the bridge that connects Brooklyn with Manhattan via the East River, a massive steel suspension bridge that opened to great fanfare in 1903. However, Hoppers focus is not the imposing structure of the bridge itself, but the more mundane view of the adjacent neighborhood on the Manhattan side of the river. This scene is most likely the approach to the bridge from Delancey Street, on the Lower East Side; Hopper would have made a preparatory sketch while standing at the location, and then painted the final version in his Greenwich Village studio.From Williamsburg Bridge is a city scene without noise or motion. The light on the buildings is bright and steady, and the only person visible is a woman sitting in profile in a top-floor window. In the visible sections of four ordinary apartment buildings, Hopper establishes a combination of subtle rhythms and repetitions. The windows themselves are rectangles within the rectangles, punched into the facades in orderly rows. Their window shades, raised and lowered at various heights, create subtle variation within the gridlike framework. The profile of the buildings cornices and a pair of chimneys is sharply defined against a clear sky. This overall play of horizontal and vertical forms is broken only by the angles of two fire escapes and by the unobtrusive railing of the ramp to the bridge, rising at a slight diagonal along the bottom of the canvas. The broad format of this painting implies the continuation of the scene beyond the limits of the canvas: we can imagine the street, the girders of the nearby bridge, and perhaps other, identical brownstone buildings with solitary tenants lost in reverie.