Young Girls at the Piano《鋼琴前的少女》

愛(ài)藝

In this picture， Young Girls at the Piano， we have a detailed and felicitous account of the surroundings of French family life at the end of the nineteenth century， and yet it does not break down into a clutter of things asking for attention. We see the piano with its candle holders， the chairs， the tasseled draperies， and in the room beyond we get a glimpse of a stuffy but inviting confusion. We may study the costumes and the hairdos the girls wear， and on the piano is a typical “old-fashioned” bouquet of the time.

This documentary character of Renoirs earlier work seldom conflicts with its qualities as art. The scene before us is bathed in a soft glow of light—its source and direction are not specific—and the rosy warmth helps us to join in the unself-conscious pleasure of the moment. This is a picture of leisure and relaxation and companionship. We feel this not only in the obvious indications of the subject， but more persuasively in the way the picture is put together.

The harsh， the rigid， and the angular are absent or suppressed; the gentle golden light that dilutes the colors brings them into the same family. Yet Renoir here has given a surprising animation to a canvas that shows so little action. Our eyes are carried along sweeping lines and across forms that continue or stop one another. The foreground community of russet tones—the pillow on which the girl sits， the overstuffed chair with its music， and the piano—creates an arc moving to our right and toward the wall; the bodies of the girls lean forward in a similar but opposed arc; and this arc is restated in the drapery. The relation of the three arms and hands in the center of the canvas is a masterly variation on this theme. The girls， a lovely range of delicate pastel tints， are a beautifully organized group， typically Renoir in their vivacious postures and facial expressions. Also typ-ically Renoir is the brilliant clustering of the heads and ornamental details at a point where many lines converge from above and below.

在《鋼琴前的少女》這幅畫中，我們看到了對(duì)19世紀(jì)末法國(guó)家庭生活環(huán)境細(xì)膩而真實(shí)的描繪，而畫面上并沒(méi)有什么雜七雜八的東西擾亂視線。畫中有鋼琴，琴上安置著燭架，還有椅子、帶流蘇的隔簾，遠(yuǎn)處房間露出模糊的一角，透著一絲古板，卻又讓人忍不住想一探究竟。兩個(gè)女孩的服裝和發(fā)型或許值得研究，鋼琴上還擺放著那會(huì)兒時(shí)髦的“老式”花束。

雷諾阿早期作品的這種紀(jì)實(shí)性與其藝術(shù)品質(zhì)鮮少?zèng)_突。整個(gè)畫面沐浴在一片柔光中——光源和指向都不明確——那種安逸的溫暖幫助我們體驗(yàn)到畫中人那一刻油然而生的愉悅。這幅畫呈現(xiàn)出悠閑、松弛和友情。這一點(diǎn)不僅可從主題的明顯暗示中感受到，構(gòu)圖給人的感受更強(qiáng)烈。

畫面上看不到刺目、僵硬和棱角分明的東西，或者那些都被掩蓋了。柔和的金色光線淡化了各種顏色，使之協(xié)調(diào)統(tǒng)一。然而，雷諾阿賦予了這個(gè)幾乎靜止的畫面令人驚喜的動(dòng)感。觀畫者目光所及，但見(jiàn)連綿的線條和錯(cuò)落有致的輪廓。紅褐色調(diào)的前景區(qū)包含女孩的坐墊、厚實(shí)的軟墊椅和椅子上的樂(lè)譜，還有鋼琴——這一切構(gòu)成一道弧線，向觀畫者右側(cè)和墻壁延伸——兩個(gè)女孩身體前傾也形成一道弧線，方向恰與其相反，這道弧線在隔簾上再度呈現(xiàn)。畫面中央的三條手臂和三只手相互關(guān)聯(lián)，是對(duì)這一主題的另一種精湛的表達(dá)。女孩的著色很養(yǎng)眼，色調(diào)素雅柔和。她倆構(gòu)成了一個(gè)美妙的組合，無(wú)論那充滿活力的姿態(tài)還是面部表情，都體現(xiàn)出典型的雷諾阿風(fēng)格。兩個(gè)女孩的腦袋湊在一起，和一些裝飾性細(xì)節(jié)巧妙地匯聚到一處，來(lái)自畫面上方和下方的許多線條同聚于此，這也是雷諾阿風(fēng)格的典型體現(xiàn)。