The towering pitched-roof brick houses with narrow windows, packed tightly along a narrow lane with a bakery and barber’s shop (indicated by a striped post and golden bowls for bloodletting) show Vrel as a pioneer of the new genre of the townscape, which emerged around 1650. His pictures appear peculiar, his figures quirky, and his street scenes stage-like. For a long time, his works were confused with those of Johannes Vermeer. His paintings are represented among the world’s most famous museum collections, and they are coveted rarities among collectors. But to date the painter Jacobus Vrel appears to be a phantom.
高聳的斜屋頂磚房和狹窄的窗戶緊緊地?cái)D滿了狹窄的小巷龄章，沿著小巷有面包店和理發(fā)店（用條紋柱子和放血的金碗暗示）表明弗瑞爾是在1650年左右逐漸成為新興城市景觀類(lèi)型作品的先驅(qū)。他的畫(huà)看起來(lái)很奇特，人物古怪，街景仿佛是舞臺(tái)布景惧浴。很長(zhǎng)一段時(shí)間，人們把他的作品與約翰內(nèi)斯-維米爾（Johannes Vermeer）的作品相混淆奕剃。他的畫(huà)作是世界上最著名的博物館藏品之一衷旅，也是收藏家夢(mèng)寐以求的稀世珍品捐腿。但到目前為止，畫(huà)家雅各布斯-弗瑞爾(Jacobus Vrel)像一個(gè)幽靈般神秘柿顶。
This painting is of particular importance within his small oeuvre of mainly cityscapes -and interiors. It is one of Vrel’s earliest works and yet also his most complex architectural composition. This seemingly typical example of Dutch Baroque painting differs from all other architectural representations of the time and thus occupies a prominent position within the collection. Typical of Jacobus Vrel's street scenes are the unusually narrow, steeply rising and closely spaced brick houses with red-brownish brickwork. These buildings have three to five floors and peaked gable roofs covered with Dutch tiles. The fa?ades are articulated by several different architectural elements. The most striking are the narrow, often whitewashed windows.
這幅畫(huà)在畫(huà)家以城市景觀和室內(nèi)設(shè)計(jì)為主的小作品系列中尤為重要茄袖。這是弗瑞爾最早期畫(huà)作之一，也是他最復(fù)雜的建筑構(gòu)圖作品嘁锯。這幅看似典型的荷蘭巴洛克繪畫(huà)作品不同于當(dāng)時(shí)的所有其他建筑繪畫(huà)宪祥，因此在該系列中占有突出地位。弗瑞爾典型的街景通常是異常狹窄家乘、陡峭且間隔緊密的紅褐色磚砌建筑蝗羊。這些建筑有三到五層，最上方的山墻屋頂覆蓋著荷蘭瓦烤低。外墻由幾個(gè)不同的建筑元素連接。最引人注目的是狹窄的笆载、經(jīng)常被刷成白色的窗戶扑馁。
Do you see the characters on the street? The lady on the left is talking to another woman carrying a shopping basket on her arm in front of the bakery. The three women are easily recognizable by their white bonnets and shawls, while the men are wearing a hat and dark clothes. The man on the right leans on a long stick as he talks. In the foreground the figures are larger, towards the back they become smaller and smaller—in this way the painter creates a depth in the room.?
你看到街上的人物了嗎？左邊的女士正在面包店前與另一位手挎著購(gòu)物籃的女士交談凉驻。這三個(gè)女人戴著白色的帽子和披肩腻要，很容易辨認(rèn)，而男人們則戴著帽子穿著深色衣服涝登。右邊的男人靠在一根長(zhǎng)棍子上說(shuō)話雄家。前景中的人物更大，而后面的人變得越來(lái)越小——這樣畫(huà)家就在畫(huà)面中創(chuàng)造了景深胀滚。
We present today's masterpiecethanks to Alte Pinakothek.?:)
感謝慕尼黑老繪畫(huà)陳列館與我們分享今天的杰作趟济。:)
