梵高一些画作的英文名和英文介绍

Question

RT
画作为：星夜，夜间的露天咖啡座，罗纳河畔的星夜，红色的葡萄园。
请给我它们的英文名以及一些英文介绍。
急，谢谢！
请不要给我中文的材料。

Answer 1

1.《夜晚的咖啡馆》

梵高的激情，来自他所生活在其中的那个世界，来自他所认识的人们所做的按捺不住的强烈反应。这绝不是一个原始人或小孩子所做的那种简单的反应。他写信给弟弟提奥的信，是一个艺术家写出来的最动人的故事。信中表明了他高度敏感的知觉力，这种知觉力完全符合他他那感情的反应。他敏锐地意识到，自己正在获得效果，这种效果是通过黄色或蓝色来取得的。虽然他的大部分色彩观念用来表达对于人物和自然的爱，及其表现过程中的愉快，但他对较深的色彩十分敏感，所以在谈到《夜晚的咖啡馆》时说：“我试图用红色和绿色为手段，来表现人类可怕的激情。”《夜晚的咖啡馆》是由深绿色的天花板、血红的墙壁和不和谐的绿色家具组成的梦魇。金灿灿的黄色地板呈纵向透视，以难以置信的力量进入到红色背景之中，反过来，红色背景也用均等的力量与之抗衡。这幅画，是透视空间和企图破坏这个空间的逼人色彩之间的永不调和的斗争。结果是一种幽闭、恐怖和压迫感的可怕体验。作品预示了超现实主义用透视作为幻想表现手段的探索，但是没有一种探索，能有如此震撼人心的力量。

2.《星夜》
梵高的宇宙，可以在《星夜》中永存。这是一种幻象，超出了拜占庭或罗曼艺术家当初在表现基督教的伟大神秘中所做的任何尝试。梵高画的那些爆发的星星，和那个时代空间探索的密切关系，要胜过那个神秘信仰的时代的关系。然而这种幻象，是用花了一番功夫的准确笔触造成的。当我们在认识绘画中的表现主义的时候，我们便倾向于把它和勇气十足的笔法联系起来。那是奔放的，或者是象火焰般的笔触，它来自直觉或自发的表现行动，并不受理性的思想过程或严谨技法的约束。梵高绘画的标新立异，在于他超自然的，或者至少是超感觉的体验。而这种体验，可以用一种小心谨慎的笔触来加以证明。这种笔触，就象艺术家在绞尽脑汁，准确无误地临摹着他正在观察着的眼前的东西。从某种意义上看，实际确是如此，因为梵高是一位画其所见的艺术家，他看到的是幻象，他就是幻象。《星夜》是一幅既亲近又茫远的风景画，这可以从十六世纪风景画家老勃鲁盖尔的高视点风景手法上看出来，虽然梵高更直接的源泉是某些印象主义者的风景画。高大的白扬树战栗着悠然地浮现在我们面前；山谷里的小村庄，在尖顶教堂的保护之下安然栖息；宇宙里所有的恒星和行星在“最后的审判”中旋转着、爆发着。这不是对人，而是对太阳系的最后审判。这件作品是在圣雷米疗养院画的，时间是1889年6月。他的神经第二次崩溃之后，就住进了这座疗养院。在那儿，他的病情时好时坏，在神志清醒而充满了情感的时候，他就不停地作画。色彩主要是蓝和紫罗兰，同时有规律地跳动着星星发光的黄色。前景中深绿和棕色的白杨树，意味着包围了这个世界的茫茫之夜。
梵高继承了肖像画的伟大传统，这在他那一代的艺术家里鲜见的。他对人充满了激情的爱，使他不可避免地要画人像。他研究人就象研究自然一样，从一开始的素描小品，一直到1890年他自杀前的几个月里所画的最后自画像都是如此。它如实地表现出疯人凝视的可怕和紧张的眼神。一个疯人，或者一个不能控制自己行为的人，无论如何也不能画出这么有分寸、技法娴熟的画来。不同层次的蓝色里，一些节奏颤动的线条，映衬出美丽的雕塑般的头部和具有结实造型感的躯干。画面的一切都呈蓝色或蓝绿色，深色衬衣和带红胡子的头部除外。从头部到躯干，再到背景的所有的色彩与节奏的组合，以及所强调部位的微妙变化，都表明这是一个极好地掌握了造型手段的艺术家，仿佛梵高完全清醒的时候，就能记录下他精神病发作时的样子。

3.《乌鸦群飞的麦田》

在这幅画上仍然有着人们熟悉的他那特有的金黄色，但它却充满不安和阴郁感，乌云密布的沉沉蓝天，死死压住金黄色的麦田，沉重得叫人透不过气来，空气似乎也凝固了，一群凌乱低飞的乌鸦、波动起伏的地平线和狂暴跳动的激荡笔触更增加了压迫感、反抗感和不安感。画面极度骚动，绿色的小路在黄色麦田中深入远方，这更增添了不安和激奋情绪，这种画面处处流露出紧张和不详的预兆，好像是一幅色彩和线条组成的无言绝命书。就在第二天，他又来到这块麦田对着自己的心开了一枪。

4.《割耳朵后的自画像》
1888年梵·高邀请高更来阿尔同住，但两个固执的艺术家却是不断的争吵。在一场剧烈争执后，高更大怒而去，梵·高无法阻止，亦无法抑制自己的激动，竟割下自己的左耳。
世界把自己的癫狂最先传染给人类的画师——就像曾经给他的笔端注入魔力。我们惊讶地注视着梵·高扭曲的面孔、恐怖的眼神和颤抖的手势：他仿佛在代替整个人类受刑，成为痛苦的化身。想到这里，也就能理解梵·高作品中挣扎的线条与狂舞的色块：倾泄的颜料里调和着他的血，而画布，不过是他包扎伤口的绷带。这是一位生活在伤口里的大师，他习惯用伤口对世界发言。这是一个疼痛的收割者，他的镰刀最终收获了自己的耳朵。
梵·高死了，却留下了一只著名的耳朵——这最后的遗物似乎并没有失去听觉，收集着后人的议论。这只在故事中存在的失血的耳朵，至今仍像埋设在我们生活中的听诊器，刺探着我们的良心。梵·高死了，耳朵还活着，还拥有记忆。为什么不在他呻吟与崩溃的时候，扶持他一把——世界，你听见了吗？你的耳朵长在何处？

5.《十四朵向日葵》
这些简单地插在花瓶里的向日葵,呈现出令人心弦震荡的灿烂辉煌。梵·高以重涂的笔触施色,好似雕塑般在浮雕上拍上一块黏土。黄色和棕色调的色彩以及技法都表现出充满希望和阳光的美丽世界。然而在画此作的同时,画家死命想抓住的这个世界还是缓慢却无情地溜走了。或许这画的表面反映了他悲剧性的短促一生接近终结时期的心理状态。他是个热爱自然并能从简单的事物看到纯粹之美的画家,他说他宁可画从窗户向外看到的树影而不想象中的幻像。

Answer 2

没办法编辑文本，只能都给你这样直接放上了
【星夜】
The Starry Night
1889
Oil on canvas
29 x 36 1/4 in.
The Museum of Modern Art, New York
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'The Starry Night' was not Van Gogh's first depiction of a night sky. In Arles, he had been proud of his painting of the stars and the reflection of the lights of the town in the River Rhône, one of the first results of a plan intimated to Emile Bernard in April 1888. He wanted to paint a starry night as an example of working from the imagination, which could add to the value of a painting: 'we may succeed in creating a more exciting and comforting nature than we can discern with a single glimpse of reality', he wrote. In a letter to Theo of the same date, Vincent was more explicit about the motif: 'a starry night with cypresses or possibly above a field of ripe wheat'. With his 'Starry Night', painted in Saint-Rémy, he fulfilled that promise and did so at a time when he was more determined than ever to prove himself the equal of his fellow artists.

Van Gogh also mentioned as a joint aim 'a kind of painting giving greater consolation'. This supremely religious aspiration was no longer related to the Christian ethic for Van Gogh. His insistence that the canvases were not a return 'to romanticism or to religious ideas', though somewhat puzzling at first, was intended only to show that the works had nothing in common with earlier mystic paintings. He had once admired religious subjects from ancient art, but he now considered that the feeling of solace should primarily be evoked by the colour and design of representations of nature. [...]'The Starry Night' should be seen as [...] based on religious ideas only in this specific sense.

The artistic solution chosen by Van Gogh for these canvases lay in a compelling form of stylisation. The landscape with hills - in which he had attempted 'to render the time of day when you see the green beetles and cicadas fly up in the heat' and 'The Starry Night' were, he wrote later, 'exaggerations in terms of composition' with lines 'warped as in old woodcuts'. Van Gogh was referring to the somewhat primitive, coarse illustrations in the household edition of the works of Dickens rather than to the carefully executed wood engravings in contemporary magazines. in the drawings which he also made after these paintings, this abstraction has been taken a step further.

'The Starry Night' in particular was an attempt by Van Gogh to create a masterpiece on a par with the very stylised work of Gauguin and Bernard. The graphic style adopted by Van Gogh was not an obvious choice to achieve a nocturnal effect in which surfaces and silhouettes would normally play a greater role than lines. The style is in this sense rather artificial, and the same can be said of the scene itself, put together as it is from different studies from nature.

Van Gogh may have had doubts about the painting, but subsequent commentators have elevated 'The Starry Night' to a place among his most exceptional and important works. The combination of style and religious overtones has fuelled endless critical debate. Several authors have investigated the extent to which Van Gogh's night sky is true to life, but the science of astronomy has failed to produce an unambiguous answer. In the light of Van Gogh's opinions this is hardly surprising: he was permitting himself the artistic freedom which Bernard and Gauguin also exploited.
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【夜间的露天咖啡座】
Cafe Terrace on the Place du Forum
September 1888
Oil on canvas
81 x 65.5 cm
Rijksmuseum Kroller-Mueller, Otterlo
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Vincent van Gogh's The Cafe Terrace stands as one of the painter's most remarkable works. It is also, without question, one of the most famous produced in Van Gogh's brief but prolific career.
This work is the first in a trilogy1 of paintings which feature starlit skies. Starry Night Over the Rhone came within a month, followed by the popular Starry Night painted the next year in Saint-Rémy. An interesting companion to these three can be found in the Portrait of Eugene Boch (painted in the same month as Cafe Terrace and Starry Night Over the Rhone)--note the starry motif in the work's background.

Vincent was enthusiastic about The Cafe Terrace and wrote to his sister Wil:

In point of fact I was interrupted these days by my toiling on a new picture representing the outside of a night cafe. On the terrace there are tiny figures of people drinking. An enormous yellow lantern sheds its light on the terrace, the house and the sidewalk, and even causes a certain brightness on the pavement of the street, which takes a pinkish violet tone. The gable-topped fronts of the houses in a street stretching away under a blue sky spangled with stars are dark blue or violet and there is a green tree. Here you have a night picture without any black in it, done with nothing but beautiful blue and violet and green, and in these surroundings the lighted square acquires a pale sulphur and greenish citron-yellow colour. It amuses me enormously to paint the night right on the spot. They used to draw and paint the picture in the daytime after the rough sketch. But I find satisfaction in painting things immediately.
(W7: 9 and 16 September 1888)
Vincent goes on to tell Wil that there is a description of a similar cafe in the book Bel Ami by Guy de Maupassant: " . . . a starlit night in Paris with the brightly lighted cafes of the Boulevard, and this is approximately the same subject I just painted.".2

Van Gogh's works are often inspired by literary references or by the works of other painters (see his copies after Jean-François Millet). Cafe Terrace has a similar style and compositional structure to Avenue de Clichy in the Evening by Anquetin. Regardless of whether Van Gogh was directly inspired by Anquetin's work, the composition of Cafe Terrace is unique among all of Van Gogh's oeuvre. Note how the lines of composition all point directly to the centre of the work where a horse and carriage are found. Everything seems to be drawn inward, like a vortex, and yet the overall tone suggests tranquillity and not turmoil. The overall scheme is dark, but without the slightest trace of black.

More than one hundred years after Vincent painted it, the Cafe Terrace is still in Arles serving drinks to its thirsty patrons. It's now called the Cafe Van Gogh, appropriately enough, and has been remodelled to appear as it did more than a century ago--yellow-lit awning and all. I stopped and had a cognac when I visited Arles in 1995 (you won't find absinthe on the menu any more) and thought of Vincent, so close by in spirit, working feverishly (but contentedly) under the stars.
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1. The idea of a "trilogy" of starlit paintings is a constructed one. Vincent himself never envisioned such a trilogy.
2. Vincent is mistaken--in fact, the Maupassant reference he is thinking of is found in the novel Yvette.本回答被提问者采纳

Answer 3

Cafe Terrace on the Place du Forum
Oil on canvas
81.0 x 65.5 cm.
Arles: September, 1888
F 467, JH 1580

Vincent van Gogh's The Cafe Terrace stands as one of the painter's most remarkable works. It is also, without question, one of the most famous produced in Van Gogh's brief but prolific career.
This work is the first in a trilogy1 of paintings which feature starlit skies. Starry Night Over the Rhone came within a month, followed by the popular Starry Night painted the next year in Saint-Rémy. An interesting companion to these three can be found in the Portrait of Eugene Boch (painted in the same month as Cafe Terrace and Starry Night Over the Rhone)--note the starry motif in the work's background.

Vincent was enthusiastic about The Cafe Terrace and wrote to his sister Wil:

In point of fact I was interrupted these days by my toiling on a new picture representing the outside of a night cafe. On the terrace there are tiny figures of people drinking. An enormous yellow lantern sheds its light on the terrace, the house and the sidewalk, and even causes a certain brightness on the pavement of the street, which takes a pinkish violet tone. The gable-topped fronts of the houses in a street stretching away under a blue sky spangled with stars are dark blue or violet and there is a green tree. Here you have a night picture without any black in it, done with nothing but beautiful blue and violet and green, and in these surroundings the lighted square acquires a pale sulphur and greenish citron-yellow colour. It amuses me enormously to paint the night right on the spot. They used to draw and paint the picture in the daytime after the rough sketch. But I find satisfaction in painting things immediately.
(W7: 9 and 16 September 1888)
Vincent goes on to tell Wil that there is a description of a similar cafe in the book Bel Ami by Guy de Maupassant: " . . . a starlit night in Paris with the brightly lighted cafes of the Boulevard, and this is approximately the same subject I just painted.".2

Van Gogh's works are often inspired by literary references or by the works of other painters (see his copies after Jean-François Millet). Cafe Terrace has a similar style and compositional structure to Avenue de Clichy in the Evening by Anquetin. Regardless of whether Van Gogh was directly inspired by Anquetin's work, the composition of Cafe Terrace is unique among all of Van Gogh's oeuvre. Note how the lines of composition all point directly to the centre of the work where a horse and carriage are found. Everything seems to be drawn inward, like a vortex, and yet the overall tone suggests tranquillity and not turmoil. The overall scheme is dark, but without the slightest trace of black.

More than one hundred years after Vincent painted it, the Cafe Terrace is still in Arles serving drinks to its thirsty patrons. It's now called the Cafe Van Gogh, appropriately enough, and has been remodelled to appear as it did more than a century ago--yellow-lit awning and all. I stopped and had a cognac when I visited Arles in 1995 (you won't find absinthe on the menu any more) and thought of Vincent, so close by in spirit, working feverishly (but contentedly) under the stars.