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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。",[23,24,25,26,7,27],"名画","油画","印象派","睡莲","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b9df7302d05313f100b03243e6075.jpg","未知","Xcm*Xcm","油画精选",[31],193,2,"2A56C6",{"id":37,"slug":38,"title":39,"dynasty":40,"author":41,"museum":42,"description":43,"tags":44,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":67,"zanCount":68,"manualWeight":11,"mainColor":69},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","宋","赵令穰","美国波士顿博物馆","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[45,23,46,47,48,49,50,51,52,53,54,7,55,56,57,58,59,60,61],"高清","国画","书画","长卷","山水","水墨","设色","皴法","淡墨","树木","小船","岸堤","远山","草木","亭","湖岸","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","绢本，设色","纵19.1厘米，横161.3厘米","书法精选",[65],139,1,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":18,"author":19,"museum":20,"description":21,"tags":74,"thumbUrl":88,"material":29,"size":30,"collection":31,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":69},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes 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赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[46,198,161,51,50,199,97,162,200,201,202,54,203,82,7,57,204,205,206,207],"立轴","披麻皴","孤舟","垂钓","草堂","芦苇","文人","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],30,{"id":212,"slug":213,"title":214,"dynasty":194,"author":215,"museum":20,"description":216,"tags":217,"thumbUrl":223,"material":29,"size":30,"collection":104,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":107},287610,"fang-wen-zheng-ming-xi-shan-qiu-ji-tu-dong-qi-chang-287610","仿文徵明溪山秋霁图","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[45,46,48,161,218,51,219,220,7,221,222,52],"临摹","秋景","山峦","林木","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f2bf98b6ce2773a2ec1467d076c57e.jpg",[],27,{"id":227,"slug":228,"title":229,"dynasty":194,"author":230,"museum":20,"description":231,"tags":232,"thumbUrl":239,"material":29,"size":30,"collection":104,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":107},290783,"chun-quan-xiao-yin-tu-juan-zhou-chen-290783","春泉小隐图卷","周臣","画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。 画中环境清静美，确为理想的隐居之处。该图布局疏密有序，人物景致描写严谨准确，色调富于变化",[45,46,48,51,50,49,98,233,234,235,182,82,57,7,236,118,237,238],"小桥","流水","茅屋","隐居","伏案","洒扫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e5dc319d728780ab969bd3b16b9003.jpg",[],25,{"id":243,"slug":244,"title":245,"dynasty":194,"author":246,"museum":247,"description":248,"tags":249,"thumbUrl":253,"material":254,"size":255,"collection":104,"collections":256,"showCount":241,"zanCount":68,"manualWeight":11,"mainColor":69},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4","姚绶","上海博物馆","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[46,50,49,52,200,250,119,182,203,57,251,7,252,118],"蓑笠","近石","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg","纸本,设色","纵31.2 厘米 横48.3 厘米",[],{"id":258,"slug":259,"title":260,"dynasty":18,"author":19,"museum":20,"description":21,"tags":261,"thumbUrl":266,"material":29,"size":30,"collection":31,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":269},225996,"pierre-auguste-renoir-claude-monet-with-mme-henriot-1880-mo-nai-225996","Pierre Auguste Renoir - Claude Monet with Mme Henriot, 1880",[24,25,76,262,263,55,98,7,264,265],"色彩明快","笔触灵动","倒影","水面波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa26bba423ab6e74f0bfab3a732d058d.jpg",[31],12,"37474F",{"id":271,"slug":272,"title":273,"dynasty":40,"author":157,"museum":20,"description":274,"tags":275,"thumbUrl":278,"material":29,"size":30,"collection":104,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":69},290251,"ping-hu-xue-ji-tu-yi-ming-290251","平湖雪霁图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,46,47,181,50,49,276,7,54,222,277],"雪景","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13613725d654c3c03724561843e7c5ad.jpg",[],6,{"id":282,"slug":283,"title":284,"dynasty":285,"author":286,"museum":20,"description":287,"tags":288,"thumbUrl":290,"material":123,"size":291,"collection":104,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":69},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","清","费丹旭","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[45,46,47,48,51,50,97,117,148,118,49,98,200,203,289,7,57,80],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 题跋：31×33cm×13",[],5,{"id":295,"slug":296,"title":297,"dynasty":285,"author":298,"museum":20,"description":299,"tags":300,"thumbUrl":303,"material":29,"size":30,"collection":104,"collections":304,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":69},238677,"shan-shui-ce-dong-bang-da-238677","山水册","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[46,145,50,51,49,59,301,7,121,57,84,54,302],"柳树","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9bd99b29422934b5584d890f8425e1.jpg",[],{"id":306,"slug":307,"title":308,"dynasty":285,"author":157,"museum":20,"description":309,"tags":310,"thumbUrl":318,"material":29,"size":30,"collection":104,"collections":319,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},270607,"wang-jin-sheng-wang-chuan-tu-mo-nan-tuo-mo-yi-ming-270607","汪近圣辋川图墨-南坨墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[311,148,312,313,314,200,315,7,316,317],"墨","楷书","文房用具","轻舟","夕阳","水波","人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4030f8fd09eb79aca5e68070a387a4b1.jpg",[],{"id":321,"slug":322,"title":323,"dynasty":285,"author":157,"museum":20,"description":309,"tags":324,"thumbUrl":328,"material":29,"size":30,"collection":104,"collections":329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},270600,"wang-jin-sheng-wang-chuan-tu-mo-yi-hu-mo-yi-ming-270600","汪近圣辋川图墨-欹湖墨",[311,312,148,325,326,7,327,200,49],"青山","白云","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a4eec41a32ee31c762aa6215622a0e.jpg",[],1777535721185]