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安东·莫夫：荷兰艺术家  Anton Mauve, Dutch painter 19世纪中叶在海牙形成了一个荷兰风景画群体，称为“海牙画派”，画派成员们从康斯泰布尔和巴比松画派中吸取营养，工于经营气氛式的光影效果，创作宗旨是以抒情但忠实的笔触呈现荷兰风光。其作品多以写实手法描绘当地的风俗风景，被人们认为是17世纪荷兰现实主义画派的延续和发展。 海牙画派的风俗画大多取材劳动人民生活。其风景画则选择具有地方特色的题材,并着重表现外光效果。他们发展了17世纪荷兰风景画传统,并在不同程度上受到同时期法国风景画的影响。不过,海牙画派的作品往往带有某种浪漫色彩和怀旧情绪,使它跟同时期的法国巴比松画派和印象主义在创作倾向上也是有所不同的。重要成员有梅斯达格和莫夫等人。其中，安东·莫夫是著名画家文森特·梵高的表兄，梵高早年画风曾深受其影响。 安东·鲁道夫 紫红色（1838年9月18日 - 1888年2月5日）是荷兰现实主义画家谁是海牙学校的领导成员。他现在是最出名的是他对他的表弟按律文森特·梵高的早期工作的影响力。紫红色出生在赞丹成一个浸信会传教士，谁是安东出生后发送到哈勒姆一年的家庭。他的早期作品可以归因于海牙学校。当紫红色搬到拉伦在1886年，他是拉伦学??校的创始人，与约瑟夫·以色列和阿尔伯特Neuhuys之一。很多反对他的父母希望他拿起艺术的研究，进入彼得F.面包车锇，其枯燥的学术方式有工作室，但是，却很少吸引他。他获利远远被他的亲密与他的朋友约瑟夫·以色列和威廉马里斯。以他们为榜样鼓励他放弃了早期的紧张和高度成品的方式进行绘画的自由，宽松的方法，和灿烂的调色板他年轻时工作的招标抒情的和谐是一般仅限于“精致灰色，绿色，淡蓝色。他擅长在渲染软朦胧的气氛不散超过荷兰的绿色草地，和献身几乎完全描绘领域和荷兰乡间小道的宁静的乡村生活 - 尤其是近奥斯特贝克和Wolfhezen，沙丘地区海岸在斯海弗宁恩，靠近拉伦，在那里他度过最后岁月他的生活的国家。有点伤感与惆怅，他的田园场景仍然设想在一个宁静舒缓的抒情意境，这是鲜明对比的是史诗般的力量和JF小米几乎悲剧强度。有十四个紫红色的照片在博物馆Mesdag博物馆在海牙，和两个（挤奶时间和渔船投入到海）在国家博物馆在阿姆斯特丹。最紫红色的工作显示了户外设置人和动物。在他的早晨骑在国家博物馆，时尚的骑手在海边被视为骑远离观察者。一个非常规的细节 - 马的粪便在前台 - 证明了他的承诺，以现实主义。他最著名的画作描绘的农民在田里工作，特别是牧羊场景。他的成群的牛羊的画是与美国的顾客特别受欢迎。他的工作的例子包括更改牧场（约1880年），并进入折（约1885-1888）。在他年轻的梵高曾在短期内，直到他们吵了一架。紫红色尊重梵高的天赋，但坚持认为，他开发的绘图和建模的传统技艺。紫红色于1888年死于动脉瘤，在阿纳姆。  Anton Rudolf Mauve (September 18, 1838 – February 5, 1888) was a Dutch realist painter who was a leading member of the Hague School. He is now best known for his influence on the early work of his cousin-by-law Vincent van Gogh. Mauve was born in Zaandam into the family of a Baptist preacher, who was sent to Haarlem a year after Anton's birth. His early work can be attributed to the Hague School. When Mauve moved to Laren in 1886, he was one of the founders of the Laren School, with Jozef Isra?ls and Albert Neuhuys. Much against the wish of his parents he took up the study of art and entered the studio of Pieter F. van Os, whose dry academic manner had, however, but little attraction for him. He benefited far more by his intimacy with his friends Jozef Israels and Willem Maris. Encouraged by their example he abandoned his early tight and highly finished manner for a freer, looser method of painting, and the brilliant palette of his youthful work for a tender lyric harmony which is generally restricted to 'delicate greys, greens, and light blue. He excelled in rendering the soft hazy atmosphere that lingers over the green meadows of Holland, and devoted himself almost exclusively to depicting the peaceful rural life of the fields and country lanes of Holland - especially of the districts near Oosterbeek and Wolfhezen, the sand dunes of the coast at Scheveningen, and the country near Laren, where he spent the last years of his life. A little sad and melancholy, his pastoral scenes are nevertheless conceived in a peaceful soothing lyrical mood, which is in marked contrast to the epic power and almost tragic intensity of J. F. Millet. There are fourteen of Mauve's pictures at the Museum Mesdag at the Hague, and two (Milking Time and A Fishing Boat putting to Sea) at the Rijksmuseum in Amsterdam. Most of Mauve's work shows people and animals in outdoor settings. In his Morning Ride in the Rijksmuseum, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail — horse droppings in the foreground — attests to his commitment to realism. His best known paintings depict peasants working in the fields, and especially sheep herding scenes. His paintings of flocks of sheep were especially popular with American patrons. Examples of his work include Changing Pasture (ca. 1880s) and Entering the Fold (ca. 1885-1888). The young van Gogh worked under him for a short period, until they had a quarrel. Mauve respected van Gogh's talent, but insisted that he develop traditional skills in drawing and modelling. Mauve died of an aneurysm in 1888, in Arnhem.                                                 |
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