愛藝/譯

In Unterach on Attersee， 1915， Gustav Klimt tackles a panoramic shot of the village of Unterach from far out on the lake. The work was probably painted using opera glasses1， one of Klimts favorite devices for capturing distant scenes， and consequently the proportions are noticeably different to other works. The village， although perceived at a distance， is， in reality， close to the foreground in order to stress the majestic form of the mountain side， which towers up the picture frame.

古斯塔夫·克里姆特1915年創(chuàng)作了《阿特湖畔的下阿赫鎮(zhèn)》。畫面呈現(xiàn)的是從遠(yuǎn)處湖上看到的下阿赫村鎮(zhèn)的全景?？死锬诽乩L制此畫時(shí)很可能用上了他借以觀察記錄遠(yuǎn)處景色最喜歡的一種工具——觀劇鏡，畫中事物的比例因而與其他作品明顯不同。盡管是從遠(yuǎn)處觀望，但這個(gè)村鎮(zhèn)在畫上離前景很近，這是為了突出背景山巒的雄偉——高大的山巒撐滿了整個(gè)畫框。

The works of Cezanne and Van Gogh appear to have inspired the varie-gated2 blue and green brushwork that sweeps across the surface of Unterach on Attersee， but the application of larger-than-normal strokes helps to accentuate this long-range effect. The inclusion of a swathe3 of green meadow across the central band breaks the all-important central line of vision. This is the eyes point of entry so the band forces the viewer to look alternatively down to the village and up to the sky—careful manipulation of the visual esthetic. This is a world of tranquillity， now separated from the viewer by the implied expanse of water.

《阿特湖畔的下阿赫鎮(zhèn)》畫面一片斑駁的藍(lán)綠色點(diǎn)，這種畫法似乎是受到了塞尚和凡·高作品的啟發(fā)，但克里姆特的筆觸格外厚重，使這種遠(yuǎn)距效果更加突出。畫面中央橫貫一長(zhǎng)片綠色草地，讓觀者至關(guān)重要的中心視線被打斷。這里是觀畫最先看到之處，所以，中央的綠帶會(huì)使觀者不得不上下掃視，看看下方的村鎮(zhèn)，再看看上方的天空——畫家對(duì)觀者賞畫作了精心引導(dǎo)。那個(gè)寧?kù)o的世界，如今隔著一片隱現(xiàn)的湖水，與觀者遙遙相望。

1 opera glasses觀劇鏡。一種小型、低倍率的雙筒望遠(yuǎn)鏡，也稱為戲劇雙筒鏡或伽利略雙筒鏡，通常使用在觀賞戲劇的場(chǎng)合中。? 2 variegated斑駁的；有斑點(diǎn)的。? 3 swathe一長(zhǎng)條；一長(zhǎng)片。