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拍品专文
Laurits Andersen Ring's iconic Danish landscapes have become tokens of delightful straightforwardness. Together with his refined figure studies, they are at once symbolist and realist, vernacular and universal, and justly recognised as a hallmark of late nineteenth century painting in Northern Europe.
Born in Ring in rural Sjaelland into a family of smallholders, Ring's predilection for the pastoral was all but strengthened by his move to Copenhagen as a young man to pursue his artistic career. After an apprenticeship as a house painter and a brief spell at the Royal Danish Academy of Fine Arts, he returned to his parents' house where he practiced the landscape and genre scenes that came to dominate his career. In his mature life, he would live in Copenhagen intermittently, finding his preferred subject matter in the vicinity of his country home. His depictions of thatched farmhouses in winter fog, old peasant folks, flooded meadows and fjords are quiet and luminous insistences on the simple life, at a remove from the expanding and increasingly busy metropolis. At once timeless and historic, they capture traditional Denmark at the threshold of modern life. Telephone poles and rail tracks wire through his white-chalked villages and cornfields as early reminders of the ongoing and irreversible process of industrialisation.
Art historically, Ring occupies the uneasy and intriguing middle ground between Realism and Symbolism, the two dominant and often conflicting stylistic preferences of the late 19th century. While paying scrupulous attention to detail and frequently choosing socially conscious topics, Ring was inspired by painter friends Vilhelm Hammershøi and Ludvig Find to adopt an allegorical and often highly stylistic treatment of his pictures. His often unusual compositions highlight his enthusiasm for the evocative, almost mystical, while mundane subject matter such as winding roads and streams become stand-ins for the path of life itself. In Winter landscape with a windmill, Ring captures the essence of the peaceful, Danish countryside under the crisp snow.
Born in Ring in rural Sjaelland into a family of smallholders, Ring's predilection for the pastoral was all but strengthened by his move to Copenhagen as a young man to pursue his artistic career. After an apprenticeship as a house painter and a brief spell at the Royal Danish Academy of Fine Arts, he returned to his parents' house where he practiced the landscape and genre scenes that came to dominate his career. In his mature life, he would live in Copenhagen intermittently, finding his preferred subject matter in the vicinity of his country home. His depictions of thatched farmhouses in winter fog, old peasant folks, flooded meadows and fjords are quiet and luminous insistences on the simple life, at a remove from the expanding and increasingly busy metropolis. At once timeless and historic, they capture traditional Denmark at the threshold of modern life. Telephone poles and rail tracks wire through his white-chalked villages and cornfields as early reminders of the ongoing and irreversible process of industrialisation.
Art historically, Ring occupies the uneasy and intriguing middle ground between Realism and Symbolism, the two dominant and often conflicting stylistic preferences of the late 19th century. While paying scrupulous attention to detail and frequently choosing socially conscious topics, Ring was inspired by painter friends Vilhelm Hammershøi and Ludvig Find to adopt an allegorical and often highly stylistic treatment of his pictures. His often unusual compositions highlight his enthusiasm for the evocative, almost mystical, while mundane subject matter such as winding roads and streams become stand-ins for the path of life itself. In Winter landscape with a windmill, Ring captures the essence of the peaceful, Danish countryside under the crisp snow.