安德鲁斯夫妇

《安德鲁斯夫妇》Mr.and Mrs.Andrews 一托马斯.庚斯博罗,1749年119.4x69.8cm,英国伦敦国家画廊收藏。这件作品是庚斯博罗早期最著名的作品，是一幅风景画和肖像画相结合的典范之作。在这件作品中作者通过新颖的构图，柔和协调的色彩处理描绘了一对夫妇在午后打猎休息的情景。
庚斯博罗1727年生于英国萨福克郡的一个羊毛商家庭，他没有接受过正规的学院派教育，但他的母亲是一个静物画家，因此他早期接受了良好的艺术熏陶，凭着对色彩非凡的感受力创作出了许多优秀的肖像作品。18岁已负盛名，虽然他靠绘制肖像画谋生，但他真正感兴趣的是英国乡村风光。庚斯博罗的作品强调光和奔放的笔触，加之精致的色彩，使庚斯博罗成为皇家宠爱的画家。

庚斯博罗的艺术受到鲁本斯与凡.戴克的影响，又受到法国洛可可艺术的熏陶，但更多的是融入他自己心灵的创造。他的肖像画在上流社会受到欢迎。取材多数为上流社会人物，尤其以贵妇人物肖像为主。庚斯博罗作品的复杂性，是画家所处的时代里上层社会肖像画中所固有的。在18世纪，描绘英国农民生活的作品是没有人愿意挂在客厅里的，因为在当时那样的画显得“下等”和“丑陋”。所以，一个英国画家要生活得体面，肖像画是被准许谋生的唯一绘画形式，庚斯博罗也毫无例外，一个在萨福克郡乡村里生长起来的画家，风景画是他的爱好，但肖像画才是他的谋生之道。当庚斯博罗达到声望的巅峰时，成了乔治王朝统治阶级御用肖像画家，于是索画之人纷至沓来。

1769年英国皇家美术学院建立，第一任院长雷诺兹陆续发表了他著名的《讲演录》强调英国画家要提升艺术地位，要用“宏伟风格”绘制历史题材的鸿篇巨作，要学习古物和古典主义。他认为，“宏伟风格对应的是智慧和尊严，只有它才能让艺术变得高尚，将艺术家与工匠区分开。”所以他推崇理想化的风格。他认为理想美的标准是经久不衰的，在任何时代都适用，所以英国画家的使命就是通过学习古代大师，不断地努力接近理想美的标准。雷诺兹还将绘画划分了等级，历史画是最高贵的画种，其余“较劣”的画种要通过模仿历史画的特点来提升自己的格调和地位，肖像画要宏伟博大，人物要理想化，抹去真实的个性瑕疵。而风景画划分为两类，一种是对事物理想和全景式的再现;另一种是对事物真实和转瞬即逝的再现。他极力反对对于客观事物的细节描摹，他认为这会使人们沉溺于肉体欲望的快感，而真正的智者则是“超越于所有琐碎的、局部的细节之上”。

庚斯博罗对于功名的追求导致了他向学院派规则的妥协，但他一直与学院保持着十分紧张的关系，庚斯博罗曾两次从学院撤展，因此他成了院长雷诺兹的对头，并且在信件中对学院体制以及雷诺兹的理论提出了许多批评，但是他还是意识到学院对于他艺术生涯的重要性，因此在学院成立之时，他拒绝了艺术家协会的邀请，而投向更有权有势的皇家美术学院，成为它最早的成员。

庚斯博罗早期的作品《安德鲁斯夫妇》，蕴含有浪漫主义情调，画家多用灰调和冷调使得画面和人物看上去相对柔和。由于他喜爱风景画，因此他把肖像画的背景与人物相糅合，不仅可以独立存在，也可以构成一幅完整的风景画。《安德鲁斯夫妇》这幅画表现的是一对贵族夫妇在午后打猎休息的场景。他们悠闲地坐在一棵大树下的靠椅上， 男士穿戴整齐扶着猎枪，站在妻子的身旁。女子身穿华贵的撑裙、塔夫绸、蝉翼纱和打褶的缎带。虽然打猎是贵族们最时髦的乐趣，但如此盛装打扮也不像是在行猎，更像是摆拍后的流行肖像画，画面右侧的捆绑成束的谷物可以看出这是在秋天。19世纪英国风景画家康斯太勃尔便是从这一幅画的写实背景中受到启示的。 庚斯博罗为贵族们画了40年的肖像画，被贵族们公认为桂冠画家。庚斯博罗风格的诞生，标志着英国新风俗画的产生。

ENGLISH:

Ma and Mrs. Andrews, oil painting created about 1750 by English artist Thomas Gainsborough. It has been called his first masterpiece, painted early in his career. It shows his blossoming talent, not just as a portraitist but also as a landscape painter, the two genres for which he was best known.

Mr and Mrs Andrews is an oil on canvasportrait of about 1750 by Thomas Gainsborough, now in the National Gallery, London. Today it is one of his most famous works, but it remained in the family of the sitters until 1960 and was very little known before it appeared in an exhibition in Ipswich in 1927, after which it was regularly requested for other exhibitions in Britain and abroad, and praised by critics for its charm and freshness. By the post-war years its iconic status was established, and it was one of four paintings chosen to represent British art in an exhibition in Paris celebrating the Coronation of Queen Elizabeth II in 1953. Soon the painting began to receive hostile scrutiny as a paradigm of the paternalist and capitalist society of 18th-century England, but it remains a firm popular favourite.

The work is an unusual combination of two common types of painting of the period: a double portrait, here of a recently married couple, Robert and Frances Andrews, as well as a landscape view of the English countryside. Gainsborough's work mainly consisted of these two different genres, but their striking combination side-by-side in this extended horizontal format is unique in Gainsborough's oeuvre, and extremely rare for other painters. Conversation piece was the term for a group portrait that contained other elements and activities,but these normally showed more figures, seen engaged in some activity or in an interior, rather than a landscape empty of people.

Gainsborough was later famously given to complaining that well-paid portrait work kept him away from his true love of landscape painting, and his interest probably combined with that of his clients, a couple from two families whose main income was probably not from landowning, to make – more prominently than was normal in a portrait – a display of the country estate that had formed part of Mrs Andrews' dowry.

庚斯博罗 1754 年的自画像

Thomas Gainsborough was about twenty-three when he painted Mr and Mrs Andrews in 1750. He had married the pregnant Margaret Burr and returned to Sudbury, Suffolk, his home town as well as that of the Andrews, after a apprenticeship in London with the French artist

 Hubert-François Gravelot, from whom he learnt the French rococo style. There, he also picked up a love of landscapes in the Dutch style. However, landscape painting was far less prestigious and poorly paid than portrait work, and Gainsborough was forced (since the family business, a clothiers' in Sudbury, had been bankrupted in 1733) to "face paint" as he put it.

The relatively small size of the painting, just 2 feet 3 inches (69 cm) high, is typical of both Gainsborough's portraits and landscapes at this early period. Later he painted larger portraits approximating life-size for a grander London clientele than his early depictions of local gentry, and the landscape backgrounds he used were mostly of woods and very generalized. Both his landscape backgrounds to portraits and his pure landscapes tend to show woodland, and the open farmland view seen here is unusual, especially as it begins so close-up to the viewer.Like most pure landscape paintings, Gainsborough's normally showed a view all seen from a certain distance, and that this landscape sweeps away from a foreground very close to the viewer is a feature necessitated by and typical of the portrait, though one that greatly adds to the success of the painting. As with almost all artists of the period, it was not Gainsborough's practice to paint outdoors, and Mrs Andrews did not in reality have to walk in her silk clothes across the fields to pose, one of the aspects of the work commented on disapprovingly by some modern writers.