摘要
在画面上拥有建筑般严谨、坚实的结构,是塞尚毕生的追求,《三个浴女》完美的达到了这一目标。塞尚的水浴系列作品较少对人体的细节描绘,更倾向用概括的手法对整体造型进行几何化处理。缺失对对象的依赖,塞尚因此获得了一种变形的自由,以及更主观的考虑人物在画面中的布局、人体的形和画面其它构成部分的整体关系。
It was Cezanne＇s lifelong pursuit and goal to have as finn and rigorous a structure in paintings as architecture buildings, and he achieved this goal pe2fectly in his Three Bathers. He seldom depicted details of human bodies but emphasized on the whole images by using geometrical graphics. Not relying on the real objects, he thus assume more＇subjective freedom in the arrangement of people in paintings, the shape of the human bodies as well as the other constituent of the paintings.
出处
《盐城师范学院学报（人文社会科学版）》
2012年第4期78-80,共3页
Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)
