愛(ài)藝

Renoir loved to paint flowers， and he used them often， spotted about in larger compositions and as subjects in their own right. As may be seen in this Anemones， he was sensitive not only to the color and obvious beauty of flowers， but also to their living character： they stand rigidly upright， they are twisted in growing， and occasionally they droop.

The entire background of the picture may be seen to be washed in with pigment as thin as watercolor. Inasmuch as the dark vase stabilizes the picture， the table-top is almost entirely suppressed， lest its bulk overpower the composition： only a slight lightening of value indicates it.

The blossoms themselves are flicked in with quick stabs of the brush， which in places give them something of the effect of flames; in the upper， lavender ones， small whirling effects are set up. The play of stems and the ragged yellowish clusters help create the irregularity that Renoir loved.

雷諾阿喜歡畫(huà)花，他的畫(huà)中常有花的身影，除了較大的作品中能看到花，有的作品干脆就以花為主題。從這幅《銀蓮花》中或可看出，他不僅對(duì)花的顏色和顯露之美很敏感，對(duì)花的生長(zhǎng)特征也很敏感：它們有的筆直站立，有的歪歪扭扭，還有的花瓣低垂。

這幅畫(huà)的整個(gè)背景看上去就像用水彩那樣稀薄的顏料浸染的。深色花瓶穩(wěn)定了畫(huà)面，幾乎完全壓住了桌面，以免其體積讓畫(huà)面失衡：只是在明暗上稍稍打亮，表明桌面的存在。

盛開(kāi)的鮮花則以快速有力的筆觸來(lái)表現(xiàn)其插入花瓶的姿態(tài)，處處呈現(xiàn)出類(lèi)似火焰的效果;上方淡紫色的花則給人一種輕微旋轉(zhuǎn)的效果。四方伸展的花莖和參差的黃色花簇促成了一種不規(guī)則的效果，那是雷諾阿所喜歡的。