三種繪畫欣賞教育法： Le Paradis By Marc Chagall (法國Nice)； 英國青少年團討論(老師一人，十名少年) Kids’ Art Questions: 莫內的《格雷諾耶爾的浴女》Monet’s ‘Bathers at La Grenouillère’ | National Gallery ； 喜鵲，1868-1869 年 與十分鐘挑戰法 (紐約時報)：與十分鐘挑戰法 (紐約時報)：10-Minute Challenge: Bruegel’s ‘Hunters in the Snow’

法國美國……藝術家，作品，美術館，展覽
https://www.facebook.com/hanching.chung/videos/672299571797129

  二種繪畫欣賞教育法： 青少年團討論(老師一人，十名少年) Kids’ Art Questions: Monet’s ‘Bathers at La Grenouillère’ | National Gallery與十分鐘挑戰法 (紐約時報)：       二種繪畫欣賞教育法： 青少年團討論 與十分鐘挑戰法 (紐約時報)：10-Minute Challenge: Bruegel’s ‘Hunters in the Snow’

Kids’ Art Questions: Monet’s ‘Bathers at La Grenouillère’ | National Gallery

https://www.youtube.com/watch?v=LXpywsnFsf0

小學生如何看待莫內的《格雷諾耶爾的浴女》？為了本月的圖片，我們邀請了一群孩子來到畫廊仔細觀看這幅畫，然後坐下來和卡洛交談，向他詢問他們所有迫切的問題。

人為什麼模糊呢？這幅畫賣多少錢？有人試圖偷船嗎？當我們讓孩子提問時，找出這些問題和更多問題的答案。

🎨 以了解有關「La Grenouillère 的沐浴者」的更多資訊：https://www.nationalgallery.org.uk/pa...

🖌️ 了解更多關於莫內的資訊：https://www.nationalgallery.org.uk/ar...

What do schoolchildren think of Monet’s ‘Bathers at La Grenouillère’, and what do they want to know about it? For this Picture of the Month, we invited a class of children into the Gallery to take a closer look at the painting, before sitting down with Carlo to ask him all their burning questions. Why are the people blurry? How much does this painting sell for? Did anybody try to steal the boats? Find out the answers to these and many more, as we let the kids ask questions. 🎨 Find out more about 'Bathers at La Grenouillère’: https://www.nationalgallery.org.uk/pa... 🖌️ Find out more about Monet: https://www.nationalgallery.org.uk/ar...

19 世紀 60 年代末，克勞德·莫奈開始將捕捉感覺和呈現「效果」的需要擴展到所有短暫甚至轉瞬即逝的自然狀態。

莫內帶著畢沙羅、雷諾瓦和西斯萊，完成了庫爾貝曾經要求完成的雪景畫這項巨大挑戰。

不久就進行了大規模探索並取得了巨大成功前。莫內淡化了庫爾貝的抒情風格

寧願選擇一隻脆弱的喜鵲棲息在門上，像五線譜上的音符，也不願選擇

森林和狩獵。

陽光和陰影構成了這幅畫，並轉化了難以捉摸的半固體半液體物質。印象派風景畫誕生於該運動第一次正式展覽的五年前，當時該運動以印象派命名。

這幅畫描繪的是

這幅現場創作的《埃特勒塔》採用了非常不尋常的蒼白、明亮的色彩，評論家費利克斯·費內翁 (Felix Fénéon) 強調了這一點：“莫奈的方法新穎而大膽，更注重感知而非描述，這解釋了這幅畫為何被 1869 年沙龍評審團拒絕。

克勞德·莫奈，

喜鵲，1868-1869 年

巴黎奧賽博物館

In the late 1860s, Claude Monet started to extend the need to capture sensations and render "the effect" to all transitory, even fleeting states of nature.

Taking Pissarro, Renoir and Sisley with him, Monet tackled the great challenge of a snow-covered landscape, which Courbet had

grandly explored with great success not long

before. Toning down Courbet's lyricism, Monet

preferred a frail magpie perched on a gate, like a note on a staff of music, to the world of the

forest and hunting.

Sun and shade construct the painting and translate the impalpable part-solid part-liquid matter. The Impressionist landscape was born, five years before the first official exhibition when the movement was given its name.

This painting of a place in the countryside near

Etretat, executed on the spot, uses very unusual pale, luminous colours, a fact highlighted by the critic Felix Fénéon: "'The novelty and daring of Monet's approach, which was more about perception than description, explain the painting's rejection by the jury of the 1869 salon.

Claude Monet,

The Magpie, 1868-1869

Musée d'Orsay, Paris

---

現在我們來介紹紐約時報的一個專欄，這是每個月的專欄， 就是說，請發10分鐘的時間仔細看一張一張畫，你看完之後，，他會說你實際上花了多少時間， 然後就開始解釋這張畫的一些的細部......，這個做法很有意思，值得介紹，例如在藝術欣賞方面的課程時，可以好好的利用它，仔細地端詳化或作品

然後再由老師或者是專家解釋這幅畫或者作品的背景和細節，再討論。





您需要考慮以下幾點： 這幅畫喚起了什麼樣的心情？喜歡嗎？嚴峻？當你仔細觀察時，那種情緒有何改變？ 你的目光投向了哪裡？它是如何在畫中穿梭的？ 您認為這幅畫講的是什麼？

A few things to consider during your time:

• What mood does the painting evoke here? Is it joyful? Grim? How does that mood change as you look closer?

• Where does your eye go? How does it travel through the painting?

• What do you think this painting is about?

感謝您花 58 秒欣賞這件藝術品！ （你感覺到冷了嗎？）如果你想看得更久一些，只需向上滾動並按“繼續”。現在，我們將向您介紹一些相關內容。

讓我們先回顧一下過去。想像一下，這是 16 世紀 60 年代，你的朋友 Nicolaes Jonghelinck，一位富裕的銀行家，邀請你到他位於現在的比利時安特衛普郊外的鄉間別墅共進晚餐。

在那裡的一個房間裡，你會看到六幅大型畫作——每幅寬度超過五英尺——裝飾著牆壁。它們是老彼得·勃魯蓋爾的作品。這些想像中的場景共同描繪了村民在四季變化中的生活和工作。

六幅畫中有一幅是你剛剛花了 58 秒欣賞的畫作，現在名為“雪中獵人”，描繪了一個嚴酷的冬天：

其餘五個場景則延續全年劇情。我們的冬季繪畫讓位給早春（“陰鬱的一天”）：

然後到了晚春（不幸的是，那幅畫現在已經丟失了——很可能是因為這些畫在 1595 年至 1659 年期間曾轉手過）。

初夏（「乾草收成」）：

勃魯蓋爾的畫作《乾草收割》描繪了一個明媚的夏日，男人、女人和馬在田裡工作的場景。

夏末（「收割者」）：

最後，秋天（「牛群的回歸」）：

這些場景來自勃魯蓋爾的想像，可能受到歐洲西北部沿海風景和他在義大利阿爾卑斯山的旅行的啟發。

如果您能在一個地方欣賞到全部六幅畫作，那麼您一定是一位非常幸運的客人。此後，這些文物被分割並分散到世界各地，經過大公爵和皇帝之手，從私人莊園到宏偉的宮殿，現在向公眾開放。 《Haymaking》（初夏）正在布拉格的洛布科維茲宮博物館展出； 「收割者」（夏末）正在紐約大都會藝術博物館展出；其餘三幅現藏於維也納藝術史博物館。

今天，我們參觀「雪中獵人」的導遊是藝術史博物館館長喬納森·法恩 (Jonathan Fine)。 （這幅畫將於三月在博物館的展覽中展出。）

費恩先生說，1565 年的這些畫作一定令人震驚且具有先鋒派風格。 「在此之前，你在富人或貴族家中看到的大部分是肖像畫或宗教畫。因此，轉向純粹描繪自然以及人類在自然中的活動的繪畫是一件非常非常新穎的事情。

這幅畫的獨特之處還在於它描繪的是窮人和工人階級的日常生活。他說，這對於這個時期的作品來說是罕見的。

在冬季這幅畫中，我們從左邊進入布魯蓋爾的世界，看到這些獵人和他們的狗低著頭，在大雪中跋涉回家：

Gǎnxiè nín huā 58 miǎo xīnshǎng zhè jiàn

Thanks for spending 58 seconds with the art! (Did you feel the cold?) If you want to look a little longer, just scroll back up and press “Continue.” Now, we’ll tell you a bit about it.

Let’s start by going back in time. Imagine it’s the 1560s and your friend Nicolaes Jonghelinck, a well-to-do banker, invites you to dinner at his country house outside what is now Antwerp, Belgium.

There, in a single room, you encounter six large paintings — each more than five feet across — adorning the walls. They are the work of Pieter Bruegel the Elder. Together, these imaginary scenes depict villagers living and working through the changing seasons.

One of the six is the painting you just spent 58 seconds with, now called “Hunters in the Snow,” a depiction of a harsh winter:

The other five scenes continue on a march through the year. Our winter painting gives way to early spring (“The Gloomy Day”):

Then on to later spring (that panel is now, unfortunately, lost — most likely as the paintings were changing hands sometime between 1595 and 1659).

And early summer (“Haymaking”):

Late summer (“The Harvesters”):

And finally, fall (“The Return of the Herd”):

These scenes are from Bruegel’s imagination, possibly inspired by the landscape of coastal northwestern Europe and his travels in the Italian Alps.

You would have been a very lucky guest to have seen all six paintings in one place. They’ve since been split up and scattered across the world, through the hands of archdukes and emperors, from private estates to grand palaces, and now accessible to the public. “Haymaking” (early summer) is on display at the Lobkowicz Palace Museum in Prague; “The Harvesters” (late summer) is at the Metropolitan Museum of Art in New York; and the remaining three are at the Kunsthistorisches Museum in Vienna.

Jonathan Fine, the director of the Kunsthistorisches museum, is our guide today to “Hunters in the Snow.” (The painting will be featured in a coming show at the museum in March.)

In 1565, the paintings would have been startling and avant-garde, Mr. Fine said. “Up until then, most of what you would have seen in wealthy people or aristocrats’ houses would be portraits or religious paintings. So moving into paintings that are purely of nature, and of human activities in nature, is a very, very new thing.”

The painting is distinct, too, in that it is a depiction of poor and working-class people going about their everyday lives. That was rare for work of this period, he said.

In the winter panel, we slide into Bruegel’s world from the left, joining these hunters and their dogs, heads hung low, as they trudge home through heavy snow:

10-Minute Challenge: Bruegel’s ‘Hunters in the Snow’

By Larry Buchanan

 Feb. 2, 2025