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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。",[161,162,163,164,165,166,167,168,7,45,169,170,171,172,173,174,175,176,177,178],"印象派","油画","光影","色彩","笔触","火车站","铁轨","蒸汽","顶棚","列车","站台","烟雾","金属结构","地面","城市景观","工业场景","室外光线","瞬间光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8cebda616b5cf81092a71273f0dc63.jpg","油画精选",[180],32,{"id":184,"slug":185,"title":186,"dynasty":59,"author":187,"museum":20,"description":188,"tags":189,"thumbUrl":190,"material":103,"size":103,"collection":103,"collections":191,"showCount":192,"zanCount":193,"manualWeight":11,"mainColor":54},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","乾隆","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,25,27,28,29,26,30,31,40,33,121,83,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],29,2,{"id":195,"slug":196,"title":197,"dynasty":59,"author":198,"museum":20,"description":199,"tags":200,"thumbUrl":205,"material":101,"size":102,"collection":49,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":71},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,143,27,28,30,201,202,203,33,38,121,7,204,45],"行书","书法","印章","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[49,51],23,{"id":209,"slug":210,"title":211,"dynasty":59,"author":95,"museum":20,"description":212,"tags":213,"thumbUrl":219,"material":103,"size":103,"collection":103,"collections":220,"showCount":221,"zanCount":193,"manualWeight":11,"mainColor":54},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,27,28,29,30,31,33,38,214,215,40,216,7,45,217,218],"街市","商铺","马","屋顶","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],22,{"id":223,"slug":224,"title":225,"dynasty":59,"author":95,"museum":61,"description":226,"tags":227,"thumbUrl":229,"material":132,"size":230,"collection":103,"collections":231,"showCount":232,"zanCount":233,"manualWeight":11,"mainColor":71},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,27,28,29,30,31,34,35,98,216,33,39,7,228,82,32],"街道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 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珐瑯彩灯火升平碗","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[299,300,301,302,27,30,31,45,40,303,7],"清代","珐琅彩","陶瓷","珐琅器","灯火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cda5708b377d0fefe569225c350c5c.jpg","瓷器精选",[305],15,{"id":309,"slug":310,"title":311,"dynasty":59,"author":312,"museum":20,"description":313,"tags":314,"thumbUrl":317,"material":318,"size":103,"collection":103,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 —1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。\n康熙三十七年（1698年）封贝勒；康熙四十八年（1709年）胤禛被封为和硕雍亲王。在二废太子胤礽之后，胤禛积极经营争夺储位，康熙六十一年（1722年）十一月十三日，康熙帝在北郊畅春园病逝，他继承皇位，次年改年号雍正。雍正帝在位期做了一系列改革。为加强对西南少数民族的统治，实行改土归流。废除贱籍制度，实行摊丁入亩， [2] 减轻了无地、少地农民的经济负担，促进了人口增长。并且大力整顿财政，实行耗羡归公，建立养廉银制度，实行官绅一体当差一体纳粮。雍正元年（1723年）出兵青海，次年平定罗卜藏丹津叛乱。 [88-89] 在政治上，整顿吏治，创立密折制度监视臣民，设立军机处以专一事权。 [90] 而且改善秘密立储制度，使得皇位继承办法制度化，也在一定程度上避免康熙帝晚年诸皇子互相倾轧的局面。雍正帝在位期间，勤于政事，自诩“以勤先天下” 、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,25,26,27,28,30,31,33,40,315,7,316,299],"古代建筑","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg","纸本，设色",[],14,{"id":322,"slug":323,"title":324,"dynasty":157,"author":158,"museum":20,"description":159,"tags":325,"thumbUrl":329,"material":101,"size":102,"collection":180,"collections":330,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":71},226111,"the-rue-montorgueil-30th-of-june-1878-1878-mo-nai-226111","The Rue Montorgueil, 30th of June 1878, 1878",[162,161,326,7,83,327,328],"城市街道","庆典场景","光色表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4014f541b8458aa278940abc6c414709.jpg",[180],11,{"id":333,"slug":334,"title":335,"dynasty":157,"author":158,"museum":20,"description":159,"tags":336,"thumbUrl":350,"material":101,"size":102,"collection":180,"collections":351,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":71},226047,"the-beach-at-trouville-1870-71-mo-nai-226047","The Beach at Trouville, 1870-71",[161,162,337,338,339,340,341,342,30,343,344,345,346,260,7,347,348,256,349],"光影捕捉","色彩并置","快速笔触","海滩","海洋","沙滩","女性","条纹服饰","帽子","椅子","海岸线","海浪","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb008c8b0d4109e04c819fccee284e7e.jpg",[180],{"id":353,"slug":354,"title":355,"dynasty":157,"author":356,"museum":20,"description":357,"tags":358,"thumbUrl":368,"material":101,"size":102,"collection":180,"collections":369,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":370},225828,"the-dance-hall-in-arles-1888-fan-gao-225828","The Dance Hall in Arles 1888","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。",[240,162,359,360,361,362,363,7,30,364,204,365,366,367],"后印象派","色彩强烈","粗犷笔触","室内场景","舞厅","灯光","动态","聚会","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac917e4a97038284307323705bda8eb.jpg",[180],"37474F",{"id":372,"slug":373,"title":374,"dynasty":157,"author":158,"museum":20,"description":159,"tags":375,"thumbUrl":381,"material":101,"size":102,"collection":180,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":54},226023,"saint-lazare-station-the-normandy-train-1877-mo-nai-226023","Saint-Lazare Station, the Normandy Train, 1877",[161,162,163,164,165,168,166,167,376,7,171,377,259,378,379,380],"火车头","玻璃顶棚","城市建筑","都市景观","动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104015bebdb88a74ca143b22db0b9102.jpg",[180],10,{"id":385,"slug":386,"title":387,"dynasty":157,"author":158,"museum":20,"description":159,"tags":388,"thumbUrl":390,"material":101,"size":102,"collection":180,"collections":391,"showCount":392,"zanCount":11,"manualWeight":11,"mainColor":54},226021,"saint-lazare-station-exterior-view-1877-mo-nai-226021","Saint-Lazare Station, Exterior View, 1877",[161,162,163,164,165,166,389,7,171,45,172,256,167,259],"蒸汽火车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6566d8490fcd972d11b3059cc55e9d.jpg",[180],9,{"id":394,"slug":395,"title":396,"dynasty":59,"author":397,"museum":20,"description":398,"tags":399,"thumbUrl":410,"material":411,"size":103,"collection":103,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":71},216842,"zhan-zheng-tong-ban-hua-6-lang-shi-ning-216842","战争铜版画-6","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[400,401,402,403,404,115,405,44,33,406,83,7,45,407,116,408,409],"铜版画","写实","战争场景","士兵","战马","营地","城堡","田野","营帐","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F077b9e9d01ac61cce9d171c5922ad00c.jpg","水墨",[],8,{"id":415,"slug":416,"title":417,"dynasty":59,"author":95,"museum":20,"description":418,"tags":419,"thumbUrl":421,"material":103,"size":103,"collection":103,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":54},234395,"yong-yan-wan-shou-tu-xiang-zhou-yi-ming-234395","颙琰万寿图像轴","此作工笔设色，细致铺陈万寿贺典全貌。朱金亭殿巍然，帝座安于殿中，阶下官员循品阶肃立排班，依礼朝贺。广场之上红衣仪卫整列侍立，中心香案陈放礼器，仪仗森然严整。苍松古木环衬左右，烘托出典礼的肃穆庄重。\n画作以精细笔触刻画朝服纹样与殿宇斗拱，配色沉稳雅致，既以纪实视角还原清代万寿庆典的森严仪制，又渲染出隆重威严的典仪氛围，尽显宫廷贺典的恢宏礼制与皇家气派。",[24,27,28,29,30,31,33,7,39,420,204],"庆典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03703001980ab8c3df0af610227c7755.jpg",[],6,{"id":425,"slug":426,"title":427,"dynasty":157,"author":95,"museum":20,"description":428,"tags":429,"thumbUrl":436,"material":101,"size":102,"collection":103,"collections":437,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":71},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,26,27,28,30,430,431,31,34,432,433,434,43,65,45,32,202,435,7,39,33],"武士","贵族","兽","鹿","松树","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":439,"slug":440,"title":441,"dynasty":157,"author":95,"museum":20,"description":442,"tags":443,"thumbUrl":446,"material":101,"size":102,"collection":103,"collections":447,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":71},231795,"chun-ri-ji-li-xing-fu-xing-shi-shang-juan-yi-ming-231795","春日祭礼兴福行事上卷","此作为全景长卷，徐徐铺展祭典全程。开篇以苍劲松杉点缀郊野，晕染出古朴郊祀的清雅底色。随后人潮次第排布，僧众、职役、乐师各行其位，衣装色彩错落分明，素洁僧袍、朱色公服、明黄仪仗次第铺陈，仪仗行进的秩序感跃然纸上。\n\n右侧的花树仪仗团如流动花簇，将祭典热烈推向顶点，与左侧题字的朴拙笔意相映成趣。静雅山林与喧腾仪仗形成鲜明对照，既还原古仪的整肃轨制，又饱含鲜活的世俗烟火气，将春日祭典的庄重盛大与和风雅韵凝于卷上。",[23,24,25,26,27,28,30,41,33,7,444,445],"传统服饰","祭祀场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8c267524e8c66bbbf9ed1253ce3df2.jpg",[],3,{"id":450,"slug":451,"title":452,"dynasty":157,"author":453,"museum":20,"description":454,"tags":455,"thumbUrl":465,"material":101,"size":102,"collection":103,"collections":466,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":54},230637,"rembrandt-harmensz-van-rijn-0270-lun-bo-lang-230637","Rembrandt Harmensz.van Rijn - 0270","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[456,30,457,458,459,460,461,462,463,7,464],"宗教","版画","明暗对比","十字架","梯子","长袍","拐杖","光线","巴洛克","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8795efb39c19c2487862d772bc9e92d5.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":157,"author":453,"museum":20,"description":454,"tags":471,"thumbUrl":474,"material":101,"size":102,"collection":103,"collections":475,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":370},230622,"rembrandt-harmensz-van-rijn-0257-lun-bo-lang-230622","Rembrandt Harmensz.van Rijn - 0257",[162,456,458,401,27,30,459,460,7,472,473],"布料","昏暗背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec3fe7aebc00d726d6d90a1df57f2cc.jpg",[],{"id":477,"slug":478,"title":479,"dynasty":59,"author":397,"museum":20,"description":398,"tags":480,"thumbUrl":490,"material":411,"size":103,"collection":103,"collections":491,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":71},216829,"zhan-zheng-tong-ban-hua-13-lang-shi-ning-216829","战争铜版画-13",[299,400,401,402,115,30,261,44,43,33,83,481,403,482,116,38,483,409,484,485,404,486,487,7,488,489,408],"军营","武器","植被","阵列","旌旗","营帐群","山地","军阵","兵士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a29802c212af21ea1589e6b4d414ea.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":157,"author":95,"museum":20,"description":496,"tags":497,"thumbUrl":504,"material":101,"size":102,"collection":103,"collections":505,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":71},289031,"louis-jean-desprez-view-of-the-portal-and-principal-entrance-yi-ming-289031","Louis Jean Desprez--View of the Portal and Principal Entrance","这幅钢笔淡彩以哥特建筑群铺展纵深感，高耸双塔刺破柔色晕染的天际，飞卷旌旗为冷硬石材添上灵动暖意。拱廊串联起楼宇，精准的线条勾勒雕花与层叠结构，光影在券洞间渐变晕开，衬出建筑的庄严厚重。\n\n下方市集人头攒动，暖调烟火升腾，将宗教建筑的肃穆揉进鲜活市井气里。朦胧水色晕开复古质感，仿佛能听见街巷的喧嚷、猎猎旗风，让静态街景拥有了鲜活叙事感，将中世纪庆典的鲜活与古建的庄重融为一体。",[498,499,500,501,502,253,7,83,503],"水彩画","西洋画","宗教建筑","钟楼","拱门","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94c3a69cd263571b0519f468a2af7b3.jpg",[],{"id":507,"slug":508,"title":509,"dynasty":157,"author":510,"museum":20,"description":511,"tags":512,"thumbUrl":520,"material":101,"size":102,"collection":103,"collections":521,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":54},232537,"mi-lai-si-81-yue-han-ai-fu-li-te-mi-lai-si-232537","米莱斯81","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。",[162,27,401,30,513,514,515,83,516,482,517,362,7,518,500,519],"教堂","拱形窗","木梁","座椅","历史服饰","讲台","建筑内部","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4f39f8636b0b362c575129219604e7.jpg",[],{"id":523,"slug":524,"title":525,"dynasty":157,"author":526,"museum":20,"description":527,"tags":528,"thumbUrl":534,"material":101,"size":102,"collection":103,"collections":535,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":536},232031,"racehorses-before-the-stands-musee-d-orsay-france-de-jia-232031","Racehorses before the Stands - - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[161,162,529,530,531,532,533,163,7,261,27,380],"赛马","骑手","观众","看台","沙地跑道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983c28e66f1005475f6a5d2036f6796f.jpg",[],"F48FB1",{"id":538,"slug":539,"title":540,"dynasty":157,"author":95,"museum":20,"description":541,"tags":542,"thumbUrl":546,"material":103,"size":103,"collection":103,"collections":547,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":54},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[23,24,26,27,28,30,216,34,243,407,543,33,114,544,545,7,45],"车辆","牛","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":549,"slug":550,"title":551,"dynasty":157,"author":95,"museum":20,"description":552,"tags":553,"thumbUrl":561,"material":101,"size":102,"collection":103,"collections":562,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":54},289256,"pietro-da-cortona-study-for-the-age-of-bronze2-yi-ming-289256","Pietro da Cortona--Study for the Age of Bronze2","这幅习作以奔放洒脱的素描线条，铺陈出充满张力的古典史诗场景。高台之上的王者伸臂宣谕，威严毕现，阶前将士躬身领命，紧绷的肌肉与利落的甲胄线条尽显勇武。周遭攒动的人群与散落的残躯兵器，晕染出肃杀厚重的氛围。\n\n创作者以建筑分割画面空间，将视线牢牢锚定在君臣对答的中心场景，潦草却精准的排线，勾勒出衣料褶皱的垂坠感与躯体的力量感，每一笔都饱含情绪，将权力交锋的磅礴气势凝于纸面，尽显古典叙事的雄浑气魄。",[554,555,556,557,558,559,7,431,430,560,121],"素描","人物画","历史画","白描","线描","宫廷场景","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74e52c08d4912ab9508b95890d5579a.jpg",[],{"id":564,"slug":565,"title":566,"dynasty":157,"author":95,"museum":20,"description":567,"tags":568,"thumbUrl":572,"material":101,"size":102,"collection":103,"collections":573,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":71},289186,"goya-crowd-in-a-park-from-images-of-spain-album-yi-ming-289186","Goya--Crowd in a Park, from Images of Spain Album","淡墨晕开远处林影，朦胧晕染出松弛的郊野底色。近处以迅疾简练的线条层叠出攒动人群，没有分毫精雕细琢，却精准抓住了俯仰谈笑的鲜活神态。\n\n潦草随性的笔触间，游园的喧闹呼之欲出，或是驻足眺望，或是围拢交谈，鲜活的市井烟火凝在笔尖。以写意速写定格下公园午后的松弛快活，带着临场般的鲜活热络，把日常游园的鲜活瞬间封存在方寸纸面之中。",[569,411,30,570,7,33,571],"速写","公园","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f321c56d2f32e739e4f2f0810e4e8a.jpg",[],{"id":575,"slug":576,"title":577,"dynasty":157,"author":95,"museum":20,"description":578,"tags":579,"thumbUrl":583,"material":101,"size":102,"collection":103,"collections":584,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":54},288620,"jean-michel-moreau-the-younger-design-for-the-engraving-re-jouissances-yi-ming-288620","Jean-Michel Moreau the Younger--Design for the Engraving Réjouissances","高耸灯柱如银锋挑起点点星芒，流泻的光焰撕破夜的墨色，将这片林荫广场晕开暖融融的辉光。两侧浓荫如黛，框住这场沸腾的夜游盛事。\n\n衣香鬓影之间，贵族执盏谈笑，乐师奏起欢曲，马车碾过碎石，仆从穿行奔忙，处处漫溢松弛恣肆的欢愉。远景屋宇隐在树影里，将喧嚣妥帖拢在这片天地中。\n\n细密线条铺陈光影层次，明暗交织晕开梦幻朦胧的氛围感，将夜游狂欢的迷醉鲜活复刻，仿佛丝竹管弦混着笑语，正顺着晚风悠悠漫来。",[457,554,580,581,571,420,7,255,33,582,367],"风俗画","夜晚","纪念碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20db5833158ee2ff09a7ef1bf1e73ec9.jpg",[],{"id":586,"slug":587,"title":588,"dynasty":157,"author":95,"museum":20,"description":589,"tags":590,"thumbUrl":595,"material":101,"size":102,"collection":103,"collections":596,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":71},288559,"carlo-galli-bibiena-design-for-a-stage-set-solomon-receiving-the-queen-yi-ming-288559","carlo Galli Bibiena--Design for a Stage Set Solomon Receiving the Queen","这幅舞台设计稿以棕褐淡墨铺陈，将巴洛克的浮夸恢弘与戏剧叙事感融为一体。左侧繁复的柱廊缠绕着浮雕与壁龛，利落的线条勾勒出华丽肌理，明暗晕染让雕塑仿若呼之欲出，尽显装饰的极致张力。\n右侧露台广场错落排布着人群，侍从簇拥仪仗队列，动态十足，仿佛正上演着庄重的会面。远景朦胧虚化，巧妙拉大舞台景深，将仪式的肃穆热烈暗藏在疏密有致的画面中，每一处细节都在为戏剧氛围铺垫，让纸面仿佛已成为即将启幕的戏剧现场，尽显古典舞台设计的精妙构思。",[456,30,554,591,592,593,7,594],"舞台设计","淡墨","欧式建筑","圣经故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9a33edac83f1289a3453bdd68f19ce.jpg",[],{"id":598,"slug":599,"title":600,"dynasty":157,"author":601,"museum":20,"description":602,"tags":603,"thumbUrl":614,"material":101,"size":102,"collection":103,"collections":615,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":370},232308,"a-er-ma-35-lao-lun-si-a-er-ma-ta-de-ma-232308","阿尔玛35","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[162,27,604,30,560,362,276,605,606,7,607,401,608,609,610,611,612,613],"古典主义","石板地面","古典服饰","历史题材","人物群像","建筑细节","地面纹理","多人互动","室内空间","历史场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362d8435696b82416006426eedae3741.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":157,"author":526,"museum":20,"description":527,"tags":620,"thumbUrl":624,"material":101,"size":102,"collection":103,"collections":625,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":370},232041,"portraits-at-the-stock-exchange-musee-d-orsay-france-de-jia-232041","Portraits at the Stock Exchange - - - Musee d'Orsay (France)",[162,161,30,621,622,623,7,362],"男性","礼帽","西装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405edf168b310c760d423b5e9d24fea7.jpg",[],{"id":627,"slug":628,"title":629,"dynasty":59,"author":95,"museum":20,"description":630,"tags":631,"thumbUrl":637,"material":103,"size":103,"collection":103,"collections":638,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},238610,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238610","平定两金川得胜图册","这幅全景铜版画以环形营寨为核心，细密线条铺展出排布规整的帐幕，兵卒往来各司其职，操练值守、打理营务的细节清晰分明。连绵山峦环抱着战地营盘，将整座驻点框入苍茫山野间，零星驻点散落远景，呼应主寨的宏大格局。笔触冷峻写实，既复刻出征讨大军的整肃军容，也以开阔构图烘托出战事之下的雄浑气场，如实定格了平叛战事里的军营实景，兼具纪实的严谨质感与战地的厚重氛围感。",[632,558,633,115,44,33,30,83,43,38,634,403,404,409,635,483,7,408,130,482,636],"木刻","军队","营寨","山谷","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f3a3a919d8a5194982b18d8572bfca.jpg",[],1777535711666]