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Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[23,24,7,25,26,27,28,29,30,31,32,33,34,35,36,37],"油画","印象派","光影捕捉","色彩交融","树","湖水","城镇","天空","花园","山石","水面","建筑","枝叶","远景","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg","未知","Xcm*Xcm","油画精选",[41],102,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":18,"author":19,"museum":20,"description":21,"tags":49,"thumbUrl":64,"material":39,"size":40,"collection":41,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":44},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of Giverny",[24,7,50,51,52,53,54,55,56,30,57,58,59,60,61,62,63],"外光写生","色彩晕染","蓝色房屋","田野","树木","远山","河流","草地","乡村","枯枝","弯曲河流","朦胧山峦","绿色田野","淡色天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3294145284cb1d8c7332d4ea315245.jpg",[41],37,{"id":68,"slug":69,"title":70,"dynasty":18,"author":71,"museum":20,"description":72,"tags":73,"thumbUrl":10,"material":39,"size":40,"collection":41,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},225751,"garden-with-courting-couples-square-saint-pierre-may-1887-fan-gao-225751","Garden with courting couples square Saint-Pierre May 1887","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[23,24,7,74,31,75,54,76,77,57,30,78,79,80,81,82],"短笔触","石径","灌木丛","情侣","花树","春季","休闲场景","人物互动","色彩明快",[41],31,"795548",{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":21,"tags":90,"thumbUrl":99,"material":39,"size":40,"collection":41,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":44},225942,"haystacks-in-the-sunlight-midday-1890-mo-nai-225942","Haystacks in the Sunlight, Midday, 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Trees1889",[155,23,156,7,157,30,158,159,54,53,160,74,161],"名画","厚涂","橄榄树","云彩","土地","自然景物","色彩鲜明","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a87a7246b80a9eac740d4dbd6dbced9.jpg",[41],{"id":165,"slug":166,"title":167,"dynasty":168,"author":169,"museum":20,"description":170,"tags":171,"thumbUrl":179,"material":39,"size":40,"collection":180,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":85},226693,"xiang-lu-yi-ming-226693","香炉","宋","佚名","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[172,173,174,7,175,176,177,178],"宋代","陶瓷","器","白釉","黑彩","装饰纹样","日用器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c001dd86d5b34754dde0a0511a26be.jpg","",[],3,{"id":184,"slug":185,"title":186,"dynasty":187,"author":169,"museum":20,"description":188,"tags":189,"thumbUrl":193,"material":39,"size":40,"collection":194,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":197},256762,"xing-yao-bai-you-dian-cai-zi-mu-shi-su-xiang-yi-ming-256762","邢窑白釉点彩子母狮塑像","唐","邢窑，是一处隋朝－五代时期的窑场，现存遗址位于河北省邢台市辖内丘、临城两县境内的太行山东麓丘陵和平原地带。据考证，邢窑始烧于北朝，衰于五代，终于元代，唐代时为制瓷业七大名窑之一，也是我国北方最早烧制白瓷的窑场。\n邢窑开创的独特制瓷工艺和先进的烧造技术，同样是我国陶瓷史上的重要里程碑。唐人李肇在《国史补》里写道："内丘白瓷瓯、端溪紫石砚，天下无贵贱通用之"。\n邢窑白瓷产品的出现，改变了中国一向以青瓷为主的局面，结束了自魏晋以来青瓷一统天下的局面，到了唐代，形成规模，使得邢窑与越窑平分秋色，形成了南青北白、相互争妍的两大体系，为唐以后白瓷的崛起和彩瓷的发展奠定了基础。唐三彩的出土使邢窑遗址成为中国第三处烧制唐三彩的窑址，具有重大的保护价值和学术、科研价值。\n白瓷的发展起步较迟，而邢窑白瓷到唐朝中期已非常流行。唐墓出土的白瓷碗，胎土白洁，细如澄泥，釉色明净，据此可以证明邢窑白瓷同样是瓷器中之上品。唐代白瓷除邢窑外其他产地之白瓷质地制工也较优良，江西州窑也是当时白瓷的中心。唐三彩一般为黄、绿、白（蓝），其发展是从汉代单色釉（绿）到北朝的黄釉绿色再到唐三彩。三彩釉陶是一种低温铅釉的彩陶器，色彩绚丽，造型生动，在唐代釉瓷中是一个很特别的品种，俗称“唐三彩”。三彩陶器巧妙利用了釉色的变化达到富丽华美的装饰效果。色釉中蓝彩较罕见。唐三彩的烘造地点主要在长安及洛阳两地，唐三彩造型丰富多彩；有生动传神感人的人物偏和动物偏，还有房屋用器的模型。\n邢窑瓷器的釉色有白、青、黑和褐黄等多种。邢窑白瓷按其胎、釉的质地，可以分为粗、细两大类。\n粗白瓷:\n白瓷的胎质又有粗、细之分，粗胎的一类胎色灰白，胎质粗糙；细胎的一类胎体致密，胎色较淡，但仍不够白，往往施一层白色化妆土。\n粗白瓷的釉质较细，有些还有细碎的纹片，釉色为灰白或乳白色，还有黄白色。\n粗白瓷产量大，生产过程中，不管是捏练还是陈腐都不够充分，白中常泛黄，到五代时部分产品的工艺水平有所提高，胎体中少有气孔夹砂现象，烧不熟的现象已基本克服，渐趋细腻。\n细白瓷:\n细白瓷的胎色纯白，个别的白中闪黄釉质很细，釉层中有微细的小棕眼，器物多施满釉，釉色纯白或白中微泛青色。白釉又有粗细之分，以粗者居多，细者占少数。\n细白瓷在加工工艺上，每个步骤都很讲究，烧成后白度很高。邢窑的精细白瓷，选用优质瓷土烧成，胎质坚实细腻，胎色洁白如雪，釉质莹润，有的薄如蛋壳，透明性能很好。一般器物纯白光亮，有些则白中微微泛青。\n邢窑是镁釉，高温下黏度大，釉面易光滑平整，光泽度好，但釉色有乳浊感，不透明，釉色稳定，多呈白色或白中泛青的色调。这就使乳浊釉对胎体有良好的遮盖性，器物施釉到底，质优者足心也施釉。而当时的定窑产品釉料配置不稳定，就釉而言也分粗细两种，都不够光洁，光泽度差。",[187,173,175,7,190,191,192],"兽","塑像","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff5a6964d6be2c361ca2fdb1e3847b0.jpg","瓷器精选",[194],2,"37474F",{"id":199,"slug":200,"title":201,"dynasty":202,"author":169,"museum":20,"description":170,"tags":203,"thumbUrl":211,"material":39,"size":40,"collection":180,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},226672,"gua-er-guan-zi-yi-ming-226672","挂耳罐子","元",[204,173,205,206,207,208,209,210,7],"元代","釉陶","挂耳","凸起装饰","黄褐色釉","日用器","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36007d3cf11ae041daa884b7c2880091.jpg",[],1777535730017]