Beech Forest《山毛榉林》

From 1901 to 1904 Gustav Klimt completed several paintings of different woods which sometimes are half-abstract， sometimes realistic， but they are always breathtaking.

1901年到1904年间，古斯塔夫·克里姆特完成了数幅描绘不同树林的画作。这些画有的半抽象，有的写实，但无一例外都令人惊叹。

During his summer retreat in Litzlberg on Lake Attersee， Klimt started his days at 6 o’clock taking long strolls in the woods. The effects of these walks are amazing; the artist must have felt quite comfortable in nature. Here he chose to paint a calm autumnal scene rather than the mysterious， dark heart of the forest.

克里姆特在阿特湖畔的利茨尔贝格镇避暑时，每天清晨6点就到树林里散步，常常散步很久。这些散步产生了奇妙的效应，克里姆特一定非常享受在大自然中的时光。在此，他决定画一幅宁静的秋景，而非神秘、昏暗的密林深处。

For his tree paintings， Klimt often chose square canvases—a pure geometric shape that was also one of Vienna Secession’s dominant decorative motifs.

在画树时，克里姆特经常选择方形画布——一种纯粹的几何形状，也是维也纳分离派的主要装饰图案之一。

What is also characteristic of Klimt’s tree scenes is that we never see the sky. It is only suggested through tiny gaps in the upper parts of the paintings.

克里姆特笔下的树景还有一个特点，就是从来看不到天空。画家只是通过画作上部的微小缝隙来暗示天空的存在。

A densely textured meshing of dots creates the golden carpet， as though the beeches’ bronzed fall foliage has fallen from the hidden tree tops. Crossing these dots are the striating horizontal lines of the tree bark. Klimt was undoubtedly fascinated that this series of horizontals， piled up into a columnar structure， created the vertical lines of the trees. The resulting tension is further exaggerated by the deployment of the two powerful polarized color blocks of red and green， whose oppositional forces accentuate the wood’s stillness.

密密麻麻的网状色点构成了金色的地毯，山毛榉古铜色的落叶似乎是从看不见的树冠落下。点网中穿插着树皮上自然生成的水平条纹。克里姆特无疑被这一景象迷住了：层层水平条纹堆积成柱状体，构成了竖直的树木线条。由此产生的张力因浓烈的红绿极化色块的运用而进一步加强，对立的色块突出了树林的静谧。

This color tension also projects the trees dynamically out of the landscape so that they loom up translucently. Counterpoising the red floor， the trees ultimately blend into the vibrant green background.

这种色彩张力也使树木仿佛是投射在画面上，游离在景观外，由此看上去清澈通透。树木与红色的地面达成平衡，最终融入了充满活力的绿色背景。