[{"data":1,"prerenderedAt":160},["ShallowReactive",2],{"subject-shui-cai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6696,"shui-cai","水彩","水彩画高清赏析","精选中国历代水彩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d25f577af61c9515d6810ee3a10236.jpg",0,9,[14,38,59,79,93,105,121,136,147],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},289034,"louis-gabriel-moreau-view-of-a-park-yi-ming-289034","Louis Gabriel Moreau--View of a Park","不详","佚名","藏地不详","轻烟薄雾晕开晨色，高耸白杨树刺破柔淡的天光，与右侧舒展的乔木错落成趣。前景小径上行人信步缓行，坡地散落着施工旧料，带着未经修饰的烟火气，将郊野荒坡的松弛与背景露台雕栏、石质纪念物的规整典雅自然衔接。水彩柔润的笔触将林霭天色晕染交融，朦胧绿意漫过远近层次，把人工造景的精致与乡野生机揉为一体。仿佛能嗅见林间湿润草木气息，漫步游园的闲情逸致藏在明暗交织的笔触里，写实中漫着浪漫松弛的游园意趣。",[23,7,24,25,26,27,28,29,30],"风景画","园林","树木","土坡","人物","石建筑","栏杆","淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd834a4f043b6618494074a564f5306.jpg","未知","Xcm*Xcm","",[],3,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":42,"museum":20,"description":43,"tags":44,"thumbUrl":56,"material":32,"size":33,"collection":34,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":37},232369,"he-er-bai-yin-28-he-er-bai-yin-232369","荷尔拜因28","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。",[45,46,7,47,27,48,49,50,51,52,53,54,55],"写实","素描","设色","女性","服饰","头巾","长裙","腰带","流苏","鞋子","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9322b1bc85d9718a1881ba74d93084.jpg",[],2,{"id":60,"slug":61,"title":62,"dynasty":18,"author":63,"museum":20,"description":64,"tags":65,"thumbUrl":76,"material":32,"size":33,"collection":34,"collections":77,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":78},232025,"rider-in-a-red-coat-1873-de-jia-232025","Rider in a Red Coat - 1873","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。",[66,67,7,68,47,27,69,70,71,72,73,74,75],"印象派","粉彩","速写","骑手","马","红色衣物","动态捕捉","动态表现","人物动态","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bfa97843759e5dbc86a22159d42f34.jpg",[],"F48FB1",{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":90,"material":32,"size":33,"collection":34,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":37},289541,"attributed-to-richard-parkes-bonington-the-proposal-recto-unfinished-drawing-yi-ming-289541","Attributed to Richard Parkes Bonington--The Proposal (recto); Unfinished drawing","水彩晕染铺就朦胧室内，跪地的华服男子姿态热切，指尖轻触女子裙摆，将爱慕与忐忑揉进动作中。白衣女子背身僵直，侧脸带着疏离的犹豫，华贵裙装的褶皱在水色晕染下柔润舒展，将她的迟疑具象为凝滞的身形。\n\n镜中窥伺的侍女藏起好奇，壁龛肖像沉在暖棕色调里，衬得这场私密求婚暧昧又紧绷。松弛的笔触晕开柔化色块，把心动与迟疑拉扯的情绪藏进朦胧画面，如同古典戏剧里按下暂停的一幕，将未尽的话语与涌动心绪定格在这方寸之间。",[27,47,85,7,86,87,88,89],"西洋画","室内","求婚","美人","贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d0fddc1aa0b6b6676202dd8b89e051.jpg",[],1,{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":20,"description":97,"tags":98,"thumbUrl":103,"material":32,"size":33,"collection":34,"collections":104,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":37},289195,"goya-a-young-woman-at-a-well-yi-ming-289195","Goya--A Young Woman at a Well","淡墨晕染出沉暗的背景，将少女框进一方静谧角落。她垂首敛眉，双手交叠攥于腹前，素色长裙垂坠出柔和的褶皱，周身漫开怅惘的低徊气息。\n\n画师以极简的笔触勾勒井台与汲水装置，粗粝的砖石质感衬得少女身形愈发柔婉朦胧。没有繁复的细节雕琢，却将独处少女的幽微心事藏进克制的姿态里，仿佛她正对着井面的虚影暗自神伤，清冷氛围裹着细腻的情绪张力，将少女的缱绻愁思诉诸笔端，简约却极具感染力。",[46,7,99,100,101,102],"人物画","少女","水井","惆怅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29640e19e88ee2266999e82f069eca.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":118,"material":32,"size":33,"collection":34,"collections":119,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":120},288563,"attributed-to-mauro-berti-framed-design-for-a-stage-set-yi-ming-288563","attributed to Mauro Berti--Framed Design for a Stage Set","明暗为笔，勾勒出古典回廊的剧场氛围。粗糙石质立柱如缄默卫士，撑起伏叠拱顶，石面纹理载着厚重的质感。回旋阶梯蜿蜒向幽深处，墙间壁灯凝着昏柔余韵。暖棕淡晕与墨色暗影交错，在柱身切出利落明暗面，将舞台布景的虚幻揉入砖石的实感里。静止的建筑仿佛漾开沉缓呼吸，石缝间藏着虚构场景的真实张力，静谧中漫开隐秘的叙事感，仿佛转瞬便会有人拾级转过拐角，打破这凝固的肃穆昏光。",[111,46,7,112,113,114,115,85,116,117],"舞台布景","石柱","石阶","拱门","建筑画","光影","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07a34edcd35cfc76152450ba5f252afb.jpg",[],"795548",{"id":122,"slug":123,"title":124,"dynasty":18,"author":125,"museum":20,"description":126,"tags":127,"thumbUrl":134,"material":32,"size":33,"collection":34,"collections":135,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":37},232563,"mi-lai-si-107-yue-han-ai-fu-li-te-mi-lai-si-232563","米莱斯107","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。",[7,128,129,130,131,132,133,47,116],"静物","陶瓷","器","藤蔓","叶子","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff45d86557a589b2c0e37015586c9a3e0.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":18,"author":63,"museum":20,"description":64,"tags":140,"thumbUrl":145,"material":32,"size":33,"collection":34,"collections":146,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":120},231992,"standing-female-figure-with-bared-torso-circa-kunstmuseum-basel-switzerland-de-jia-231992","Standing Female Figure with Bared Torso - circa - - Kunstmuseum Basel (Switzerland)",[27,48,141,142,46,7,47,68,143,144],"袒胸","站立","人体","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89830f61e6807fceaf4d19088cc4f1a9.jpg",[],{"id":148,"slug":149,"title":150,"dynasty":18,"author":151,"museum":20,"description":152,"tags":153,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":159,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":37},231148,"su-miao-402-xi-fang-231148","素描402","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[7,47,154,155,156,131,157,128,158],"花卉","花篮","绿叶","木门","西方风格",[],1777535737534]