Unterach on Attersee《阿特湖畔的下阿赫镇》

爱艺/译

In Unterach on Attersee， 1915， Gustav Klimt tackles a panoramic shot of the village of Unterach from far out on the lake. The work was probably painted using opera glasses1， one of Klimts favorite devices for capturing distant scenes， and consequently the proportions are noticeably different to other works. The village， although perceived at a distance， is， in reality， close to the foreground in order to stress the majestic form of the mountain side， which towers up the picture frame.

古斯塔夫·克里姆特1915年创作了《阿特湖畔的下阿赫镇》。画面呈现的是从远处湖上看到的下阿赫村镇的全景。克里姆特绘制此画时很可能用上了他借以观察记录远处景色最喜欢的一种工具——观剧镜，画中事物的比例因而与其他作品明显不同。尽管是从远处观望，但这个村镇在画上离前景很近，这是为了突出背景山峦的雄伟——高大的山峦撑满了整个画框。

The works of Cezanne and Van Gogh appear to have inspired the varie-gated2 blue and green brushwork that sweeps across the surface of Unterach on Attersee， but the application of larger-than-normal strokes helps to accentuate this long-range effect. The inclusion of a swathe3 of green meadow across the central band breaks the all-important central line of vision. This is the eyes point of entry so the band forces the viewer to look alternatively down to the village and up to the sky—careful manipulation of the visual esthetic. This is a world of tranquillity， now separated from the viewer by the implied expanse of water.

《阿特湖畔的下阿赫鎮》画面一片斑驳的蓝绿色点，这种画法似乎是受到了塞尚和凡·高作品的启发，但克里姆特的笔触格外厚重，使这种远距效果更加突出。画面中央横贯一长片绿色草地，让观者至关重要的中心视线被打断。这里是观画最先看到之处，所以，中央的绿带会使观者不得不上下扫视，看看下方的村镇，再看看上方的天空——画家对观者赏画作了精心引导。那个宁静的世界，如今隔着一片隐现的湖水，与观者遥遥相望。

1 opera glasses观剧镜。一种小型、低倍率的双筒望远镜，也称为戏剧双筒镜或伽利略双筒镜，通常使用在观赏戏剧的场合中。  2 variegated斑驳的；有斑点的。  3 swathe一长条；一长片。