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de Clichy (March - April 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Old Rue de la Chaussee, Argenteuil, 1872",[161,284,341,244,7,35,29,173,342,343,344],"外光","土路","云","日光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9720b916f795a04f7872360a160d7a.jpg",[178],11,{"id":349,"slug":350,"title":351,"dynasty":352,"author":353,"museum":354,"description":355,"tags":356,"thumbUrl":359,"material":98,"size":98,"collection":98,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":78},220457,"kun-ming-jie-jing-guan-liang-220457","昆明街景","民国","关良","龙美术馆西岸馆","关良，字良公，广东番禺人。长于中国画、油画。1917年入日本川端画学校学习油画，1918-1923年于太平洋美术学校学习油画。1923年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[64,65,110,357,25,358,29,321,34,7,44],"水墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46653a26d8fca591187cb0ccb297f684.jpg",[],10,{"id":363,"slug":364,"title":365,"dynasty":83,"author":158,"museum":85,"description":159,"tags":366,"thumbUrl":369,"material":176,"size":177,"collection":178,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":56},225856,"the-yellow-house-the-street-september-fan-gao-225856","The yellow house (The street) (September - )",[161,162,7,90,40,34,42,367,368],"城镇街景","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7f2c3a0db6cae4782be25f4bcbfcbf.jpg",[178],7,{"id":373,"slug":374,"title":375,"dynasty":83,"author":158,"museum":85,"description":159,"tags":376,"thumbUrl":378,"material":176,"size":177,"collection":178,"collections":379,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":56},225836,"the-road-menders2-1889-fan-gao-225836","The Road Menders2 1889",[161,162,25,377,7,29,368,35],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c12932130ff872fdfdf67841694e767.jpg",[178],{"id":381,"slug":382,"title":383,"dynasty":83,"author":281,"museum":85,"description":282,"tags":384,"thumbUrl":393,"material":176,"size":177,"collection":178,"collections":394,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":78},225966,"la-rue-de-lepicerie-a-rouen-1892-mo-nai-225966","La Rue de lEpicerie à Rouen, 1892",[284,161,285,385,386,387,388,389,7,390,190,391,392],"笔触自由","色彩晕染","教堂塔楼","哥特式尖顶","城市建筑","屋顶","城市景观","朦胧感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd53bbf65a06785fff85100728ef14c9c.jpg",[178],6,{"id":397,"slug":398,"title":399,"dynasty":83,"author":158,"museum":85,"description":159,"tags":400,"thumbUrl":404,"material":176,"size":177,"collection":178,"collections":405,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":56},225835,"the-road-menders-1889-fan-gao-225835","The Road Menders 1889",[161,162,401,29,402,7,90,403,25],"风景画","古树","户外劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14af2e3da34dd243d54bc2296d18211.jpg",[178],{"id":407,"slug":408,"title":409,"dynasty":83,"author":84,"museum":85,"description":410,"tags":411,"thumbUrl":417,"material":176,"size":177,"collection":98,"collections":418,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":78},225460,"fu-shi-hui-218-yi-ming-225460","浮世绘218","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[412,413,25,148,414,7,415,416],"浮世绘","木刻","人物画","柳树","市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773216f5283a6385450282fce762dce8.jpg",[],{"id":420,"slug":421,"title":422,"dynasty":83,"author":423,"museum":85,"description":424,"tags":425,"thumbUrl":432,"material":176,"size":177,"collection":98,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":78},232562,"mi-lai-si-106-yue-han-ai-fu-li-te-mi-lai-si-232562","米莱斯106","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[426,89,427,29,125,428,247,7,44,429,430,431],"素描","写实","狗","日常场景","线条","明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda326b256351db28b51156f9b8bb95be.jpg",[],2,{"id":436,"slug":437,"title":438,"dynasty":83,"author":84,"museum":85,"description":439,"tags":440,"thumbUrl":444,"material":176,"size":177,"collection":98,"collections":445,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":78},289016,"made-by-hubert-clerget-drawing-for-title-page-le-petit-journal-yi-ming-289016","Made by Hubert Clerget--Drawing for title page Le Petit Journal","这是一幅兼具装饰性与纪实感的报刊扉页设计。整体采用新古典装帧风格，顶部纹章环绕刊名，两侧古典女神持卷静立，柱身点缀共和国徽记，烘托出刊物的庄重质感。画面主体刻画报社大楼，规整的古典主义立面尽显庄重气派，门前景致鲜活，往来行人三两驻足，复刻出报社日常的市井烟火气。线条细腻考究，明暗层次铺陈雅致，将报业的体面权威与街头的鲜活日常相融，让官方感与市井温情在画面中共生，是极具代表性的报刊装帧艺术佳作。",[426,441,442,7,29,246,443],"插画","欧式建筑","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c025495b8611d1ff04285be4686776a.jpg",[],{"id":447,"slug":448,"title":449,"dynasty":83,"author":84,"museum":85,"description":450,"tags":451,"thumbUrl":454,"material":176,"size":177,"collection":98,"collections":455,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":78},288605,"jonas-umbach-february-one-of-a-series-representing-the-labors-yi-ming-288605","Jonas Umbach--February (one of a series representing the labors","这帧红粉笔素描，以灵动线条铺陈市井日常。门廊之下，雇主安坐椅上，雇工正细细打理他的皮靴，脚边孩童逗弄幼犬，松弛又鲜活。门后两人探身旁观，将闲逸氛围晕开。右侧拱门后的街巷里，人群喧闹奔走，鲜活躁动的街头光景，与门廊边的慵懒静谧形成强烈对照。\n\n画家以柔和的明暗晕染区分层次，红褐笔痕粗朴又生动，将市镇冬日的浮生百态揉进画面，粗粝纸面衬出烟火质感，让平淡日常里的松弛闲散，与巷弄间的鲜活热烈交织成暖意融融的市井图景。",[426,148,29,428,452,7,453],"门廊","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22202e5b40507bda01933e5f5b50374a.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":83,"author":84,"museum":85,"description":460,"tags":461,"thumbUrl":466,"material":176,"size":177,"collection":98,"collections":467,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":78},288604,"jonas-umbach-january-one-of-a-series-representing-the-labors-yi-ming-288604","Jonas Umbach--January (one of a series representing the labors","暖棕的红粉笔铺就冬日底色，画面被暖意与萧寒生生切开。前景炉火明旺，烤火的男子摊开手掌烘着寒气，脚边小狗垂首摇尾静候温存，侍者端着热气氤氲的食盘，将烟火气揉进暖室。背景街巷清寒，行人瑟缩赶路，将冬日凛冽尽数写在佝偻的背影里。\n\n线条松弛灵动，明暗晕开冷暖边界，把隆冬里市井日常的温热与奔波的清冷对撞，粗粝笔触勾勒出鲜活的人间情态，让萧索冬日晕开熨帖暖意，定格下寒月里最平凡动人的片刻温存。",[426,462,29,428,463,35,7,416,232,464,465],"西洋画","炉火","室外场景","日常劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0adf67108b3fb7f67076724fc5493.jpg",[],{"id":469,"slug":470,"title":471,"dynasty":83,"author":472,"museum":85,"description":473,"tags":474,"thumbUrl":483,"material":176,"size":177,"collection":98,"collections":484,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":78},232425,"he-er-bai-yin-84-he-er-bai-yin-232425","荷尔拜因84","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[475,26,89,427,29,30,476,477,478,7,92,43,479,480,481,482],"宗教","城堡","拱门","台阶","塔楼","栏杆","墙壁","柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf593b43034d1ee032c98776d862784.jpg",[],1777535715581]