描述
埃拉尼的多云春季早晨
卡米耶 • 毕沙罗 （1830-1903）
1900 年
布面油画
65.4厘米× 81厘米
毕沙罗晚年的创作地点是他 1884 年移居的艾普特河畔埃拉尼的家中，他在由通往苹果园的庭院小仓库改造而成的画室中持续创作，直到 1903年去世。
埃拉尼位于巴黎西北部郊外约 70 公里的地方，距旁边的艾普特河下游30公里，就是莫奈 1883 年迁居而至并创作《睡莲》系列的吉维尼。毕沙罗在以埃拉尼的家为生活重心的同时，也常常会跑去巴黎，分别描绘田园和城市的生活。那时的他和杜兰一鲁埃画廊签订了专厲合约，因此需定期举办个展。
可以说无论是从年龄、经济还是技术上，都为他提供了稳定的环境。
毕沙罗从 1899年开始直到 1900 年4月一直在巴黎进行创作，从春天到初夏（5一6 月）又回到家中继续创作，7月至9月，他前往诺曼底海岸的避暑地贝雷维，10 月至 11月又再次回到埃拉尼。这一年，在埃拉尼创作的风景画中有 5幅春暴、4幅秋景，其中一幅春景和一蝠秋景如今藏于东京富土美术馆。
如上所述，该作品描绘的是 1900 年的春天(5/6月），那时毕沙罗在埃拉尼果园的画室里潜心创作春季萌发的田园风光。毕沙罗在5月 7日的信笺中吐鑫了自己由于埃拉尼的树木开花带来的热烈心情，画中他用无优无感的笔触描绘出了一个鲜花盛开的桃花源。毕沙罗想在春天特有的花殖下的阳光中，捕捉带着春天湿气的新绿和满开的苹果树花那模糊温暖的美感。就这样，毕沙罗在画布上创作了一幅又一幅自然变迁的瞬间。同一时期，莫奈将主要的兴趣点放在了根据光线不断变幻的色彩变化，与此相对的，毕沙罗则在同一场所中移动视角，从各个角度截取改变的风景，自由地操控着春夏秋冬四季的变化以及早晨、中午及傍晚的变化，晴天、明天、雨天、下雪天的气多变化，享受其变化的多样性。
Description
Spring, Morning, Cloudy, Eragny
Camille Pissarro (1830-1903)
1900
Oil on canvas
65.4 cm × 81 cm
The Pissarro’s hub of painting activities in his late years was his house in Éragny-sur-Epte to which he moved in 1884. He continued to execute his paintings, until his death in 1903, in his studio into which he remodeled a barn in the garden leading to an apple orchard. Éragny is located about 70 kilometers northwest of Paris, and 30 kilometers down the Epte River that flows past Éragny is Giverny, where Monet lived from 1883 onward and painted his Water Lilies series.
While he spent most of his time at his house in Éragny, Pissarro also often visited Paris and painted both scenes of rural life and urban life. During this period, due to the fact that regularly having solo exhibitions of his work was guaranteed under the exclusive contract he signed with the Galerie Durand-Ruel, he enjoyed a stable environment and favorable conditions in terms of his age, his financial situation, and also his artistic skills.
In 1900, Pissarro continued to create paintings in Paris from the previous year until April. He then returned to his home in Éragny and worked on painting over a period from spring to early summer in May to June. In the summer season from July to September, he traveled to Berneval-le-Grand, a summer resort on the Normandy coast, and then returned to Éragny again in the fall between October and November.
There are five spring landscapes and four autumn landscapes that Pissarro painted in Éragny in this year. Among them, one spring and one autumn landscapes are now housed in the Tokyo Fuji Art Museum.
As mentioned above, in the spring (May or June) of 1900 when this work was created, Pissarro concentrated on painting idyllic scenes during the height of spring in his studio near the orchard in Éragny. In his letter dated May 7, Pissarro poured out his passionate feelings toward the blooming orchard trees in Éragny. In this painting, he depicted a blossoming paradise in Éragny in a refreshing and lighthearted fashion. Pissarro probably attempted to capture the vividness of the new green leaves in the moist spring and the delightful beauty of the apple tree flowers in full bloom amid the cloudy sunshine typical of spring days. In a series of paintings such as this, Pissarro captured a momentary visual image of the ever-changing natural world on his canvas. Compared to Monet, who at this time was mainly interested in how colors were changed by light, Pissarro enjoyed creating variations of the same landscape by shifting his position and changing his perspective and leveraging changes in the season (spring, summer, autumn, winter), the time of day (morning, afternoon, evening), and the weather (clear sky, cloud, rain, snow).
展出地点：東京富士美術館 Tokyo Fuji Art Museum,Japan