维克多帕斯莫尔(Victor Pasmore)高清作品《哈默史密斯2号吊挂花园》

作品名：哈默史密斯2号吊挂花园

艺术家：维克多帕斯莫尔

年代：1949

风格：后印象派

类型：景观

第2号锤匠花园与16号锤匠露台的景色有关，那是帕斯莫尔1942-7年在伦敦泰晤士河畔居住的房子。这幅画用木炭或铅笔画的对角线细分，并用红色颜料挑选出来。其中的几条线在右上角的四分之一处相遇，另一半在左侧。线条代表花园的划分，并作为组成的辅助工具。花园的河边有一条线，从左手边的四分之一到右手边的中间。树木也是几何排列的。树的树干在最左边标记一条线平分中心的顶部边缘。下一棵树表示这幅画宽度的金色部分，第三棵正好在中途。这幅精确的作品是用铅笔或木炭刻在白色的地面上。这些灌木是用木炭或者蜡笔画出来的，然后摩擦到地上，从而达到通过彩色圆点看到的污渍效果。这些树以红棕色的色调呈现。与这些点画和线条画形成鲜明对比的是，天空是白色、浅蓝色和粉红色的平滑调子。在战争期间，帕斯莫尔研究了许多后印象派的作品，在随后的几年里，他在自己的画中研究了他们的一些想法。Sururt的点彩的影响在这里尤为明显。

Title:Hanging Gardens of Hammersmith No.2

artist:Victor Pasmore

Date:1949

Style:Post-Impressionism

Genre:landscape

The Gardens of Hammersmith No. 2 is related to the view from 16 Hammersmith Terrace, the house beside the Thames in London where Pasmore lived from 1942-7. The painting is subdivided by diagonal lines drawn in charcoal or pencil and picked out in places with red paint. Several of these lines meet at a point one quarter of the way up the righthand edge, others half way up the lefthand side. The lines represent the division of the gardens and serve as compositional aids. The river border of the gardens is marked by a line running from a quarter of the way up the lefthand side to the middle of the righthand edge. The trees are also arranged geometrically. The trunk of the tree on the far left marks a line bisecting the centre of the top edge. The next tree denotes the golden section of the width of the painting, the third is exactly mid-way.This precise composition is inscribed in pencil or charcoal on a painted white ground. The bushes have been drawn in charcoal, or possibly conté crayon, and rubbed into the ground to achieve the smudged effect visible through the coloured dots. The trees are rendered in tones of red-brown. In contrast to these pointillist and linear forms, the sky is painted with smooth modulations of white, pale blue and pink.During the war, Pasmore had studied many of the Post-Impressionists writings, and in the following years he worked through some of their ideas in his own paintings. The impact of Seurats Pointillism is particularly evident here.