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9,约翰•威廉姆•沃特豪斯(John William Waterhouse, British, 1849-1917)
沃特豪斯被认为成拉斐尔前派画家,但事实上并非如此。沃特豪斯早期受阿尔玛—达德玛和弗拉德里克•列顿影响,因此偏向于新古典主义,后来受伯恩—琼斯,但丁•罗塞蒂等人影响,便倾向于拉斐尔前派主义。
沃特豪斯的作品多以神话,历史故事,文学作品为题材,画风清新自然,带有神秘色彩,但比拉斐尔前派的画家的作品更有世俗性。

Undine    水之女神
Painting Date: 1872
Medium: Unknown
Size: Unknown
Location: Unknown

Undine来源于拉丁文的unda,是“海浪”,“水”的意思。
水之女神是欧洲传统神话传说中的形象。水之女神爱上一个男子,为此她也变成人类,但如果那个男子对她不忠诚,水之女神就将死去。
Sleep and his Half-brother Death   睡眠和他的异母/异父兄弟死亡
Painting Date: 1874
Medium: Oil on canvas
Size: 70 x 91 cm
Location: Private Collection
两个人物斜卧在矮床上,室内被灯照亮,人物的姿态显示出安适和疲乏。灯光照亮睡在外面的象征睡眠的男孩,他的异母/异父兄弟则被朦胧的阴影笼罩,形成了微妙的对比,暗示生与死的隔膜。两个人物相貌相似,又有不同,引发人对生命的思考。(关于两个人物象征死亡和睡眠是我的个人意见,似乎多数评论者,特别是中国评论者把Sleep和Death纯粹当成人名来处理)
After the Dance    舞蹈之后
Painting Date: 1876
Medium: Oil on canvas
Size: 76.2 x 127 cm
Location: Private Collection

罗马式的房子中,一个女孩侧卧着,身旁放着手鼓,她的后面坐着个男孩,两人的视线把观众的视线引向中庭,那里几个音乐家演奏着。
同是描写古罗马的生活情景,沃特豪斯和阿尔玛—达德玛的侧重点就完全不同,阿尔玛—达德玛旨在描绘宏伟的建筑华美的衣饰,人物只是衣服架子,或平衡构图的工具,以满足他的考古学热情以及对华丽场面的追求(完全这么说有些片面,但这个问题的确存在于阿尔玛—达德玛的某些作品中)而沃特豪斯则完全没有炫耀与夸饰,连用色也只用朴素的棕黄色调,力图表达人物的感情及世俗的温情。
Diogenes     戴奥甄尼斯
Painting Date: 1882
Medium: Oil on canvas
Size: 208 x 135 cm
Location: Art Gallery of New South Wales, Sydney, Australia
戴奥甄尼斯是希腊哲学家,他以愤世嫉俗而著名。他主张自然的生活,不依靠社会文明。传说戴奥甄尼斯曾住在一个大浴盆里,他曾经为了寻找一个好人白天打着灯笼前往雅典,但从来也没找到。
画中戴奥甄尼斯有着愤世嫉俗者惯有的神情:阴郁而严肃。妇女们好奇的窥看他的住所。
The Magic Circle    魔法环
Painting Date: 1886
Medium: Oil on canvas
Size: 183 x 127 cm
Location: Tate Britain, London, England
“魔法环可以净化一个圆形区域,神和精神之力被邀请入魔法环,邪恶的魔法无法进入魔法环内,有时,魔法石被放在魔法环东南西北四个方向。四个方向与四种元素相关。北方是魔力最强的方向,代表地的力量。南方代表火的力量。东方代表天空的力量。西方代表水的力量。
从东方开始,顺时针转圈,女巫就可以制造一个魔法环。魔法环可以用法杖或anthame(一种有黑色柄的仪式用短剑),在制造魔法环时,女巫念诵咒语,邀请有用的幽灵。”引自《女巫:魔法与智慧之书》
St Eulalia 圣尤拉莉娅
Painting Date: 1885
Medium: Oil on canvas
Size: 74 x 46 in
Location: Tate Britain, London, England


传说圣尤拉莉娅殉难以后,天降大雪掩埋了尸体。
沃特豪斯选择了独特视角,尤拉莉娅静穆的表情以及散开的长发在雪中格外感人。
Ophelia 奥菲利娅
Painting Date: 1889
Medium: Oil on canvas
Size: 38.5 x 62 in
Location: Unknown
奥菲利娅躺在河岸草场上,眼神疯狂而绝望,一只手握着乱发,另一只手抓着一束花。
The Lady of Shalott    夏洛特女子
Painting Date: 1888
Medium: Oil on canvas
Size: 153 x 200 cm
Location: Tate Britain, London, England
About the painting:


这幅画根据丁尼生的诗画成:
And down the river's dim expanse
Like some bold seer in a trance,
Seeing all his own mischance -
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.
Circe Offering the Cup to Ulysses    瑟茜把杯子递给尤利西斯
Painting Date: 1891
Medium: Oil on canvas
Size: 149 x 92 cm
Location: Oldham Art Gallery, Oldham, England

特洛伊战争之后,尤利西斯前往Aeaea,瑟茜住在那里,她是个美丽的魔女,有把人变成猪的力量,尤利西斯凭借Hermes给他的草药抵御瑟茜的魔法。
瑟茜右手执酒杯,左手拿着魔法仪式用的剑,美丽而高傲。她身后的圆镜中映出尤利西斯。
Ulysses and the Sirens   尤利西斯与赛壬

Painting Date: 1891
Medium: Oil on canvas
Size: 100 x 201.7 cm
Location: National Gallery of Victoria, Melbourne, Australia
赛壬是传说中半人半鸟的生物,他们用歌声来迷惑水手,尤利西斯用蜡封住水手们的耳朵,这样他们便听不到赛壬的歌声,但尤利西斯自己可以听到赛壬的歌声,于是,他把自己绑在桅杆上,自己便无法操控船。
拥有美丽头部的赛壬围着船飞翔,她们的表情生动,仿佛能够听到魅惑的歌声。
Circe Poisoning the Sea 瑟茜下毒
Painting Date: 1892
Medium: Oil on canvas
Size: 180.7 x 87.4 cm
Location: Art Gallery of South Australia, Adelaide, Australia
故事来源于奥维德的《变形记》。海神格劳克斯爱上水泽女神锡拉,但被锡拉拒绝,格劳克斯向瑟茜求助,瑟茜爱上了格劳克斯,她决心除掉锡拉,于是,瑟茜在通常锡拉沐浴的海域下毒,锡拉被毒药变成怪兽,又在意大利和西西里之间的海域变成石头,这就是至今仍以危险著称的锡拉岩。
La Belle Dame Sans Merci
Painting Date: 1893
Medium: Oil on canvas
Size: 112 x 81 cm
Location: Hessisches Landesmuseum, Darmstadt, Germany
根据John Keats的La Belle Dame Sans Merci画成:

She took me to her elfin grot,
And there she gaz'd and sighed deep,
And there I shut her wild sad eyes -
So kiss'd to sleep.
A Naiad 水仙女
Painting Date: 1893
Medium: Oil on canvas
Size: Unknown
Location: Private Collection

About the painting: Also known as 'Hylas with a Nymph'.

“水之仙女刚刚上岸,她从树干的缝隙中窥看裹着豹皮的熟睡的青年。画面中几乎无处不在的红色和绿色的对比(俗称红配绿)被湖水反射出的蓝色减弱,并呈现出相当的协调”
(引自本图1893年展览时Henry Blackburn 所写的注释)
The Lady of Shalott 夏洛特女子
Painting Date: 1894
Medium: Oil on canvas
Size: 142 x 86 cm
Location: City Art Gallery, Leeds, England

根据丁尼生的The Lady of Shalott:
She left the web, she left the loom,
She made three paces thro' the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look'd down to Camelot.
Out flew the web and floated wide;
The mirror crack'd from side to side;
"The curse is come upon me," cried
St Cecilia 圣赛西莉娅
Painting Date: 1895
Medium: Oil on canvas
Size: 46 x 77 in
Location: Private Collection
圣赛西莉娅生活在约公元前230年,她因发誓终身信仰基督教并保持贞节而闻名。圣赛西莉娅节是11月22日。
本图1895年展出时附有丁尼生的The Palace of Art中的诗句

'In a clear walled city on the sea.
Near gilded organ pipes - slept St. Cecily'.

沃特豪斯尝试用本图传达某种中世纪的感觉,而他也的确做到了。富有装饰性的画面,还有一点宗教画的味道。几乎没有现实主义和日常生活的痕迹。
Hylas and the Nymphs 海拉斯与水仙女
Artist: John William Waterhouse
Painting Date: 1896
Medium: Oil on canvas
Size: 38 x 64 in
Location: Manchester City Art Galleries, Manchester, England
赫库勒斯乘船到达塞欧斯岛,赫库勒斯的伙伴海拉斯上岸寻找水源,海拉斯找到了泉水,但水仙女们爱上年轻英俊的海拉斯,把他带入她们的世界。
碧色的湖面,美丽的水仙女,看似零乱实则精心安排的植物,使诗意在画面上缓缓流动。
Pandora 潘多拉
Painting Date: 1896
Medium: Oil on canvas
Size: 152 x 91 cm
Location: Private Collection
宙斯创造潘多拉来摧毁人类以报复普罗米修斯,赫菲斯托斯创造潘多拉的身体,雅典娜给与潘多拉衣饰,赫尔墨斯传授潘多拉语言,阿弗洛狄忒赋予潘多拉魅力。然后,诸神皆给潘多拉一件施祸于人的礼物。
宙斯把潘多拉送给普罗米修斯的弟弟厄庇墨透斯,潘多拉打开魔盒,疾病,灾祸,嫉妒,贪婪,……来到了人间,而潘多拉把希望这件唯一美好的礼物关在盒子里。
Destiny 命运
Painting Date: 1900
Medium: Oil on canvas
Size: 68.5 x 55 cm
Location: Towneley Hall Art Gallery, Burnley, England

1899年布尔战争在南非爆发,英国艺术家发起为英军募捐的活动,本图即为此而作。
画中的少女有如大理石雕塑般的美丽,她正饮酒为远征的士兵祝福,同时向远去的帆船投去同情的目光。
画面具有意大利风格和几何学特征,圆镜的弧形被拱门,颂经台及地球仪一次次的重复着。
Nymphs finding the Head of Orpheus 发现俄尔普斯的头
Painting Date: 1900
Medium: Oil on canvas
Size: 149 x 99 cm
Location: Private Collection

俄耳普斯善弹竖琴,歌声优美,他因得罪了酒神而被肢解,林泽仙女发现他的头和竖琴。
极暗的背景中凸现出的白皙的林泽仙女显得格外动人,林泽仙女的吃惊,怜悯,忧郁的表情被刻画的极其生动。
The Awakening of Adonis 唤醒阿多尼斯
Painting Date: 1900 (?)
Medium: Oil on canvas
Size: 95.9 x 188 cm
Location: Private Collection
阿多尼斯年轻俊美,是阿弗洛狄忒的恋人,他是忒伊亚和他的女儿乱伦的产物。
阿多尼斯后来死去,阿弗洛狄忒请求宙斯允许阿多尼斯半年时间呆在冥府,另半年时间与她在一起。
阿多尼斯的死亡与复苏代表植物在冬天枯萎衰落,而在春天恢复生机。
Windflowers 风之花
Painting Date: 1903
Medium: Oil on canvas
Size: 45 x 31 in
Location: Private Collection
少女飘扬的长发,翻飞的衣袂,优美的姿态,使画面极富动势。少女衣褶除阴影的处理似乎受到印象派的影响。
Lamia 雷米尔
Painting Date: 1905
Medium: Oil on canvas
Size: 57 x 36 in
Location: Private Collection

传说中雷米尔是女妖,她化作漂亮女子诱惑男子然后吃掉。
本图根据John Keat的诗Lamia写成
She was a gordian shape of dazzling hue,
Vermilion-spotted, golden, green, and blue;
Striped like a zebra, freckled like a pard,
Eyed like a peacock, and all crimson barr'd;
And full of silver moons, that, as she breathed,
Dissolv'd, or brighter shone, or interwreathed
Their lustres with the gloomier tapestries--
So rainbow-sided, touch'd with miseries,
She seem'd, at once, some penanced lady elf,
Some demon's mistress, or the demon's self.
Psyche Opening the Door into Cupid's Garden 普绪克进入丘比特的花园
Painting Date: 1904
Medium: Oil on canvas
Size: 109 x 71 cm
Location: Harris Museum and Art Gallery, Preston, England
普绪克是人类灵魂的象征。
罗马神话中,普绪克是一位美貌的公主,人们崇拜她胜过崇拜维纳斯。维纳斯命令他的儿子丘比特让普绪克爱上世界上最丑陋的生物。但丘比特爱上了普绪克,把维纳斯的命令抛在脑后。
丘比特和普绪克成为恋人,但丘比特禁止普绪克看他,后来普绪克还是看到了丘比特,丘比特逃走了。
Psyche Opening the Golden Box 普绪克打开黄金盒
Artist: John William Waterhouse
Painting Date: 1903
Medium: Oil on canvas
Size: 117 x 74 cm
Location: Private Collection
本图的故事是接着上图的故事发生的,丘比特跑掉后,普绪克四处寻找他,维纳斯布下重重难关,考验普绪克是否配得上她的儿子。其中一项就是不许她打开金盒子,普绪克忍不住打开了金盒子,从此她陷入长眠。
最后,朱庇特宽恕了这对情侣,然后就是俗气的王子和公主“live along happily”
Ophelia 奥菲利娅

Painting Date: 1910
Medium: Oil on canvas
Size: 40 x 24 in
Location: Private Collection

又是一幅奥菲利娅,因此关于奥菲利娅的故事我就不讲了。
本图对奥菲利娅的处理似乎有所不同,并不像其他作品中把奥菲利娅描写成清纯的忧郁的软柔无力的形象,本图中的奥菲利亚有一种绝望的力量。
The Sorceress 女巫
Painting Date: 1911
Medium: Oil on canvas
Size: 74 x 109 cm
Location: Peter Nahum At The Leicester Galleries, London, England


画布背后写着《浮士德》中的句子:

'These metaphysics of magicians
And necromantic books are heavenly:
Lines, circles, letters and characters:
Ay, these are those that Faustus most desires.
O, what a world of profit and delight,
Of power, of honour, of omnipotence
Is promised to the studious artisan!
All things that move between the quiet poles
Shall be at my command: emperors and kings
Are but obeyed in their several provinces
Nor can they raise the wind nor rend the clouds;
But his dominion that exceeds in this
Stretcheth as far as doth the mind of man.
A sound magician is a mighty god:
Here, Faustus, try thy brains to gain a deity.'
I am Half-Sick of Shadows, said the Lady of Shalott “我讨厌影子”
Painting Date: 1916
Medium: Oil on canvas
Size: 39.5 x 29 in
Location: Art Gallery of Ontario, Toronto, Canada
根据丁尼生的 The Lady of Shalott

There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.
The Enchanted Garden 被施法的花园
Painting Date: 1916
Medium: Oil on canvas
Size: 112 x 161 cm
Location: Lady Lever Art Gallery, Liverpool, England

这是沃特豪斯晚期的作品之一,并未完成。
“他为自己创造了在冬天显得如此温暖的避难所,但有意无意间显示出更深层的意义。花园门口站着严肃的卫兵,落雪积在左方建筑物的墙面上,文艺复兴式的拱门让人想起意大利(沃特豪斯在那里出生)。玫瑰花开放了,一个女子弯着腰闻花香。罂粟花象征着无声无息的湮没。玫瑰和雪分别象征着欲望和节制………
引自Anthony Hobson, J W Waterhouse, Phaidon 1989, p 117
Fair Rosamund 罗莎蒙德
Painting Date: 1917
Medium: Oil on canvas
Size: 96.6 x 72 cm
Location: Private Collection

罗莎蒙德是亨利二世的情妇,关于她的传奇故事有很多。不过似乎没有被引进到中国来………
画中罗莎蒙德焦急的向窗外看等待她的情夫,从布帘后窥看的仆人增加了本图的戏剧性。

参考资料:
http://www.artmagick.com/
《沃特豪斯画风》重庆出版社

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