名画《戴珍珠耳环的少女》
蓝色蓝色的因为当年作画是用矿物质材料的，就是用蓝宝石研磨候武要程约甚剧分略成粉作画的，所以画作可以保存很长的时间。
戴珍珠耳环的少女英文赏析
Johannes Vermeer – Girl with a pearl earringWhy is the Girl with the pearl earring Vermeer’s best-loved painting? It must have something to do with the fact that the girl looks over her shoulder, as though hoping to see who is standing behind her. This draws the viewer into the picture, suggesting that he is the one who has made the girl turn her head. Equally important, though, are Vermeer’s fresh colours, virtuoso technique and subtle rendering of light effects. The turban is enlivened, for example, with the small highlights that are Vermeer’s trademark. The pearl, too, is very special, consisting of little more than two brushstrokes: a bright accent at its upper left and the soft reflection of the white collar on its underside. Then there is the girl herself, who gazes at us, wide-eyed, her sensual mouth parted. She makes an uninhibited, somewhat expectant impression that cannot help exciting our interest, even though we have no idea who she is.View of Delft This, the most famous painting by Vermeer, was part of the Amsterdam sale of 1696, no. 31: "The town of Delft in perspective, to be seen from the south, by J. van der Meer of Delft; fl 200." Sale S. J. Sinistra et al., Amsterdam; 1822, no. 112. For F 2,900 to de Vries. Purchased by the state of the Netherlands. Topographic views of cities had become a tradition by the time Vermeer painted his famous canvas. Hendrik Vroom was the author of two such works depicting Delft, but they are more archaic because they followed the traditional panoramic approach that we remember from the two cityscapes by Hercules Seghers at the Berlin museum. The latter artist was one of the first to make use of the inverted Galilean telescope to transcribe the preliminary prints and their proportions (more than twice as high as wide) into the more conventional format of his paintings. Vermeer executed his View of Delft on the spot, but the optical instrument pointed toward the city and providing the artist with the aspect translated onto canvas, which we admire for its conciseness and special structure, was not the camera obscura but the inverted telescope. It is only the latter that condenses the panoramic view of a given sector, diminishes the figures of the foreground to a smaller than normal magnification, emphasizes the foreground as we see it in the picture, and by the same token makes the remainder of the composition recede into space. The image thus obtained provides us with optical effects that, without being unique in Dutch seventeenth-century painting, as often claimed, convey a cityscape that is united in the composition and enveloped atmospherically into glowing light. We admire the town, but it is not a profile view of a township, but a painting, an idealized representation of Delft, with its main characteristics simplified and then cast into the framework of a harbour mirroring selected reflections in the water, and a rich, full sky with magnificent cloud formations looming over it. This is chronologically the last painting by Vermeer that was executed in rich, full pigmentation, with colour accents put in with a fully loaded brush. The artist outdid himself in a rendition of his hometown, which stands as a truly great interpretation of nature.
