巴黎奧塞美術館（Musee d'Orsay）的一些展品

奥赛博物馆（法文：Musée d'Orsay）是法國巴黎的近代艺术博物馆，主要收藏从1848年到1914年间的绘画、雕塑、家具和摄影作品。博物馆位于塞纳河左岸，和卢浮宫斜对，隔河和杜伊勒里公园相对。原来是建于1900年的火车站，是从巴黎到奥尔良铁路的终点——奥赛车站。1939年进入巴黎的铁路取消，车站关闭。1978年被列为受保护的历史建筑，1986年改建成为博物馆，将原来存放在卢浮宫的，在茹德葆博物馆的，以及在蓬皮杜艺术中心国家现代艺术博物馆内的有关藏品全部集中到这里展出。大厅中还保留着原来的车站大钟。

Carolus Duran painting entitled 'La dame au gant'

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Carolus Duran painting entitled 'La dame au gant

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La dame au gant by Carolus Duran

Carolus Duran painting entitled 'La dame au gant

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Carolus Duran painting entitled 'La dame au gant'

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The Young Girl and Death by Marianne Stokes玛丽安·斯托克斯。 这幅画给我的印象最深。它描绘一位少女面对死亡天使时的恐惧。为什么少女用手拉扯床单？ 应该是死神带来的毛骨耸然的冷酷感。死亡天使来自黑暗之处，故行走需要借助灯光的照明。那黑色的长袍和又黑又大的翅膀，给人阴森鬼怪的感觉。

 斯托克斯（Marianne Stokes，）玛丽安娜·斯托克斯生于奥地利南部，早年在慕尼黑和法国学习绘画，师从科林（Colin）和康托斯（Courtois），学生时代曾获绘画大奖，从此经济独立。毕业之后，她来到巴黎及周边的乡村，开始受到以巴斯琴-勒帕热（Bastien-Lepage）为首的乡村自然派的影响，这在当时的青年艺术家中是非常普遍的现象。在法国的庞特（Pont）溶洞写生时，她邂逅了英国画家艾德里安·斯托克斯（Adrian Stokes），俩人于1884年结为伉俪。　从她后来的发展来看，玛丽安娜·斯托克斯确实深受乡村自然画派的影响，她一直承袭着与之类似的技法，但绘画的题材逐渐从乡村景物转向了中世纪的浪漫传奇，以及圣经故事。她的历史题材画颇具“前拉斐尔”风格。她用色相当饱满丰富，被称为“五彩画家”。晚期几乎完全抛弃油画，执着于石膏和蛋彩画，很多晚期作品为有意地屏弃透视的木版画，可惜馆藏下来的并不多。纵观她的艺术生涯，她的画由略偏唯美走向了带有宗教气息的心灵之旅，开始认同“前拉斐尔派”的写实及“不完满”风格。虽然一直存留着唯美、华丽的女性特点，但在那个时代已不可多得，而且这与她才华较早被承认、衣食无忧、婚姻美满等因素有着深切的关系，不可强求。总之，她的作品显露了她独特、不懈的艺术追求。玛丽安娜·斯托克斯的作品，是最能展现女性美的画卷之一。色彩绮丽亮泽，人物神情略带忧伤而端庄，雅致而华贵。女性在玛丽安的心里是美好的象征，你看她画中的人物有几个男人？她将她们都画得那样美！并将天使、死神都画成了女态；著名的《圣母子像》被多少画家演绎过，唯有她笔下的，这般唯美高贵！但母性不足，那不是斯托克斯了。很多作品，笔触非常细致，可见作画时之专注投入。另外觉得她的人物线条及细致润滑程度颇像现在的动画人物中的美少女！后期似自感不足，开始转向宗教历史题材，转向深层心灵诉求和神性寄托。《克里斯特之死》，将死的深痛、恋恋不舍，未行的凄婉之极。悱恻缠绵之意尽在其中，但爱人在侧，真恨幸交加！　　另外注意斯托克斯的签名,《荷兰少女》中很明显，那个“MS”很有趣。主要作品选：　《荷兰少女》、《天使》、《少女麦圣德》、《天使报喜》、《纺织的伊丽莎白》、《女孩和死神》、《耶稣诞生》、《圣母子》。


Marianne Stokes: 圣母子

Marie Bracquemond: Three ladies with parasol (aka Three Graces) 

Portrait de Madame Gaudibert by Claude Monet (1868)



Constantin Emile Meunier (1831-1905), Dark Landscape – In the Black Country, Museu D'Orsay



Peasant Girl Lighting a Fire. Frost by Camille Pissarro (1888)



War or The Cavalcade of Discord by Henri Rousseau



Sir Edward Burne-Jones. Princess Sabra (The King's Daughter). 1865-1866



The Birth of Venus by Alexandre Cabanel



Venus in Paphos by Jean Auguste Dominique Ingres

Siesta [Rest], Hans Thoma, 1889 (1839-1924). Oil on canvas，H. 88; W. 117 cm.

Hans Thoma was one of Germany's outstanding painters in the late 19th century. Trained in Karlsruhe and Düsseldorf in the 1860s, he met Gustave Courbet during a long stay in Paris and was deeply influenced by him. Dividing his career between Munich, Frankfurt and Florence, he was one of the "German Romans" who found in the observation of Renaissance art a means of contemporary expression which played a major role in the genesis of European symbolism at the end of the century.

Reminiscences of Italy, as found in the tradition of classical landscapes initiated by Poussin, are particularly obvious in this painting. Close to Arnold Böcklin's dreamy pantheism, Thoma is nonetheless conspicuously different from the Swiss artist in his preference for prosaic country scenes over mythology. In its lyricism, Rest forges a link with the many peasant scenes that Thoma had already painted.

Pierre-Auguste RENOIR, Pont du chemin de fer à Chatou, en 1881.

Pierre-Auguste RENOIR, Dance at Le Moulin de la Galette, 1876

“Starry Night, Arles“ by Vincent van Gogh

Olympia is an oil on canvas painting by Édouard Manet that caused shock and astonishment when it was first exhibited at the 1865 Paris Salon. Painted in 1863, it measures 130.5 by 190 centimetres (51 x 74.8 in). The nation of France acquired the painting in 1890 with a public subscription organized by Claude Monet. It is now in the Musée d'Orsay, Paris.

What shocked contemporary audiences was not Olympia's nudity, nor even the presence of her fully clothed maid, but her confrontational gaze and a number of details identifying her as a demi-mondaine or prostitute. These include the orchid in her hair, her bracelet, pearl earrings and the oriental shawl on which she lies, symbols of wealth and sensuality. The black ribbon around her neck, in stark contrast with her pale flesh, and her cast-off slipper underline the voluptuous atmosphere. "Olympia" was a name associated with prostitutes in 1860s Paris.

A Box at the Theatre des Italiens by Eva GONZALES (1875-1878)

Edouard Manet was Gonzales's teacher and hence slight influence can be seen especially the woman holds a strong resemblance to manet's Bar at the folies bergere. The strong contrast in the light skin tone of the woman and the dark background together with the suit of the man, this makes the woman the focal point.

The Beach at Cabourg at High Tide, Rene'-Xavier PRINET (1910)



The Bedroom at ArIes by Vincent van Gogh (1889). Oil on canvas, 57.5 x 74.0 cm.



Paul Cézanne:The Card Players 1894-1895



Woman with a Parasol turned to the right by Claude Monet



La robe rose ou Vue de Castlenau by Frederic Bazille (1864)



"Spring" by Jean François Millet




The Hunted Roe Deer on the Alert Spring by Gustave Courbet



“Dancers Climbing the Stairs” by Edgar Degas



The Enigma (1871) by Gustave Dore weaving together scenes from the Franco Prussian War (1870-1871) in Paris and mythology.



Prima Ballerina, pastel by Edgar Degas, c. 1876