Dance in the Moulin de la Galette《煎餅?zāi)シ坏奈钑?huì)》

愛藝

“The world knew how to laugh in those days！ Machinery had not absorbed all of life： you had leisure for enjoyment and no one was the worse for it.” With this happy， wonderful picture， Renoirs reminiscence seems a pallid understatement. The canvas is so rich in attractions， so full of enchanting details， that it becomes nothing less than an affirmation of the goodness of living.

The painting celebrates the triumph of youth： the women are radiantly beautiful， the men as dashing and debonair as young blades ought to be. Renoir has become famous as a painter of the nude; but what painter has clothed the human form more entrancingly？ And with unbelievable virtuosity， he has animated his figures with an amazing variety of postures and activities—bold， relaxed， eager， withdrawn， flirtatious—all of them graceful and natural.

There are bits of still life， shimmering patterns of the light fixtures， children—like the dainty blonde creature in the lower left—tucked in here and there. One even fancies that the buzz of voices， the shuffle of feet， and the gay dance tune are part of the composition.

This is one of Renoirs largest1 and most ambitious compositions; yet he was not to regard it as one of his best paintings. Despite its apparent crowding and turbulence， it reveals a studied organization. The triangular foreground group is related through silhouette and color to the group at the trees; and this group， through yellow and gold-brown tones， becomes part of a vertical unit that provides stability to the right of the canvas. The other side allows easy entrance into space over a ground dappled blue and pink—Renoirs way of creating the effect of sunlight and shadow without introducing neutral dark values.

Varied curves set up another series of rhythms. Rich color is contrasted with plain， and each is developed into an independent sub-theme： reds， yellows， blues， greens， blacks. Light flickers across the scene， resting here and there for compositional emphasis. Subject and method have been completely integrated into a unity that is one of the great achievements in the art of painting.? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ■

“那時(shí)候，世人知道如何找樂子！生活還沒有被機(jī)械化完全吞沒：人們有閑暇享受生活，日子都過(guò)得挺好。”看到這幅歡快美妙的畫作，雷諾阿的那番回憶似乎就顯得蒼白無(wú)力了。畫面亮點(diǎn)如此豐富、細(xì)節(jié)如此迷人，完全呈現(xiàn)出一派美好生活的場(chǎng)景。

這幅畫頌揚(yáng)了青春的歡欣：女士光彩照人，男士風(fēng)度翩翩，有著年輕人該有的瀟灑勁兒。雷諾阿確以畫裸體人物而成名，但還有哪位畫家能把著裝齊整的人物描繪得更加迷人呢？他畫技精湛，令人叫絕，出神入化地呈現(xiàn)了姿態(tài)各異、各做各事的人物——他們有的大膽、有的放松、有的熱切、有的孤僻、有的殷勤，所有人都大方而自然。

畫中還描繪了一些靜物、閃爍的燈具圖案，還有不定藏在哪個(gè)角落的小孩子——比如左下角那個(gè)金發(fā)小美女。觀畫者甚至?xí)杏X，那嗡嗡的交談、拖動(dòng)的舞步和歡快的舞曲都是此畫的一部分。

這是雷諾阿尺幅最大、投入最多的作品之一，但他并不認(rèn)為這是他最好的畫作。盡管畫面看起來(lái)?yè)頂D混亂，但其實(shí)經(jīng)過(guò)了精心安排。三角前景的一組人群經(jīng)由側(cè)影輪廓和顏色與樹下的人群相關(guān)聯(lián)，后者的黃色和金棕色色調(diào)使其成為垂直布局的一部分，這一布局使畫面右側(cè)保持穩(wěn)定。左側(cè)自然過(guò)渡到一片開闊的場(chǎng)地，地面散布斑駁的藍(lán)色和粉色——雷諾阿用這種方式制造太陽(yáng)光影的效果，而不用深淺不一的灰黑色。

不同的曲線構(gòu)成了另一系列的有規(guī)則的變化。濃色與素色形成對(duì)比，每一種都發(fā)展出一個(gè)獨(dú)立的副主題：濃淡不一的紅、黃、藍(lán)、綠、黑。整個(gè)場(chǎng)景遍布光點(diǎn)，在各處閃爍，突出不同的構(gòu)圖重點(diǎn)。畫作主題與繪畫技巧完美融合，創(chuàng)造出繪畫藝術(shù)的一幅佳作。? ? ? □

1此畫長(zhǎng)131厘米、寬175厘米。