每日艺术 | Rue Halévy, View from the

古斯塔夫-卡耶博特，布面油画，1878年，私人收藏，59.5x73cm

Gustave Caillebotte was a French painter who was a member and patron of the Impressionists, although he painted in a more realistic manner than many others in the group. He painted many domestic and familial scenes, interiors, and portraits but is best known for his paintings of urban Paris. :)

古斯塔夫-卡耶博特是一位法国画家，他是印象派的成员和赞助人，尽管他的绘画方式比该团体中的许多人更加写实。他画了许多家庭和家族场景、室内和肖像画，但最著名的是他的巴黎城市画。

In many of his Parisian city scenes, Gustave Caillebotte focused on the window as a psychological threshold—a visual boundary between the private, protected space of the bourgeois interior and the anonymous world of the street. Here, the viewer’s location on the balcony makes the urban panorama the sole subject of the painting. The unusually high vantage point creates a visual pull into depth, further intensified by the steeply angled window frame to the left—the only element connected to the interior space behind it. The center of the composition is dominated by the vertical ascent of the Rue Halévy toward the Opéra Garnier. Rendered as a flat, light-colored form in thick brushstrokes, the street is punctuated only by the blurred figures of pedestrians and carriages. Both the perspective and the haziness of the image recall Claude Monet’s painting Boulevard des Capucines (find it in our Archive), which Caillebotte certainly knew and had possibly already seen at the first Impressionist Exhibition in 1874. Two years later Caillebotte moved into an apartment in the block of buildings on the right.

在古斯塔夫的许多巴黎城市场景中，他都把窗户作为一种心理门槛——一种介于中产阶级内部私人、受保护的空间和街道的无名世界之间的视觉边界。在这里，阳台上的观众视角使城市全景成为这幅画的唯一主题。超高的有利位置创造了视觉上的深度，左侧陡峭的窗框进一步加强了这一点，这是唯一与后面的室内空间相连接的元素。构图的中心主要是哈莱维街垂直向上延伸到卡尼尔歌剧院。街道被厚厚的浅色笔触描绘成淡淡的平面，只有行人和马车的模糊身影点缀其上。这幅画的透视效果和朦胧感都让人想起克劳德-莫奈(Claude Monet)的画作《卡普辛大道》(Boulevard des Capucines)，卡耶博特肯定知道这幅画，而且很有可能已经在1874年的第一次印象派展览上看过它。两年后，卡耶博特搬进了右侧建筑的公寓中。

Today's painting is from a private collection. Thank you for viewing.

今天的画作来自私人收藏感谢观看:)