3. 1922年：阿拉贡、布雷顿、巴尔格尔、德奇里科、埃卢德、德斯诺斯、苏波尔特、陀思妥耶夫斯基、保尔汉、珀斯特、阿尔普、恩斯特、莫里斯、弗雷恩克尔、拉斐尔，1922年 by Max Ernst 高清作品[32%]

Au rendez-vous des amis, 1922: Aragon, Breton, Baargeld, De Chirico, Eluard, Desnos, Soupault, Dostoyevsky, Paulhan, Perst, Arp, Ernst, Morise, Fraenkel, Raphael, 1922

材质 :Oil on on canvas 尺寸 :127 × 193 cm Painting

图片文件尺寸 : 5630 x 4332px

1922年：阿拉贡、布雷顿、巴尔格尔、德奇里科、埃卢德、德斯诺斯、苏波尔特、陀思妥耶夫斯基、保尔汉、珀斯特、阿尔普、恩斯特、莫里斯、弗雷恩克尔、拉斐尔，1922年-恩斯特(German, 1891–1976)

英文名称:Au rendez-vous des amis, 1922: Aragon, Breton, Baargeld, De Chirico, Eluard, Desnos, Soupault, Dostoyevsky, Paulhan, Perst, Arp, Ernst, Morise, Fraenkel, Raphael, 1922-Max Ernst

9. 瓶花之六`A Vase of Flowers by Georges Pierre Seurat 高清作品[32%]

AF-A Vase of Flowers

图片文件尺寸: 5510×6700 px

瓶花之六-乔治·皮埃尔·修拉

-This is the only still life Seurat is known to have painted, and it is a rare surviving example of his early work, as it is believed that the artist destroyed most of those canvases. In its subject and predominant use of red pigments, it aligns with 法国艺术家 academic trends of the 1870s, particularly artists’ interest in flower painting and in the late work of the romantic painter Eugène Delacroix. Nevertheless, several aspects of the painting hint at the development of Seurat’s signature style, known as pointillism, in which he juxtaposed small dabs of contrasting pure colors. The vertical strokes of repeated colors covering the background represent a technique Seurat experimented with in other work from this period. The crisscrossing patchwork of blue and brown brushstrokes in the shadow cast by the vase onto the tablecloth approximates the technique he would cultivate in his later oil sketches, like the example hanging nearby.

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