描述
埃拉尼的多云秋季早晨
卡米耶·毕沙罗 （1830-1903)
1900年
布面油画
65 厘米 × 81厘米
这幅作品是由画商杜兰·鲁埃于1900年11月 22日从画家手中购买，并于次年 1 月在巴黎的杜兰·鲁埃画廊举办的毕沙罗个展中展出。1913年于纽约的杜兰·鲁埃画廊的展览再次展出。
以随着四季变化呈现出不同景色的果园为主题，毕沙罗创作了关于埃拉尼风景的系列作品。针对这些创作，克里斯托弗·劳埃德做了如下的注释：“就像吉维尼小镇的莫奈一样，毕沙罗对于他周围乡村景象的观察非常深入，他喜欢捕捉不断变化的景观的瞬间。他还发现冬季的雾、霜、雪与夏季活力四射的热气、清新茂密的绿色一样具有价值。毕沙罗开始通过不断改变观察目标对象的视线位置，将季节变化技天划分来描绘视觉多样性，进行了一系列作品的创作。”
在去世之前，毕沙罗这样定义了自己的绘画方法：“当你开始创作时，最初需要确定的是和谐，这片天空、这块土地和这片水之间不可避免地存在着某种关系。那就是和谐的关系。”正如在这幅作品中看到的那样，终生作为 “田园画家”的毕沙罗，其人生最后几年创作的埃拉尼风景就是根据这种和谐原则绘制的。
在这幅作品中，可以看出毕沙罗的视线方向与 《春天……》不同，画面中央可以看到农民家的红砖屋顶和烟囱。然而，从描绘草地那斑点状的随意笔触、树叶的细腻笔触和天空的洒脱笔致中可以看出，绘画的方式并未改变，改变的是色调。与《春天……》中朝气蓬勒的嫩绿色大地、浅绿树叶相间盛开的花儿，澄澈的蓝天相比，《秋天……》中枯叶铺满大地、浓郁的绿叶、凉意渐浓的暗灰色天空，呈现出略显干燥的秋季特有色调。
Description
Autumn, Morning, Cloudy, Eragny
Camille Pissarro (1830-1903)
1900
Oil on canvas
65 cm x 81 cm
This work was acquired from the artist by the art dealer Paul Durand-Ruel on November 22, 1900.
In January of the following year, it was exhibited at the solo exhibition of Pissarro held at the Galerie Durand-Ruel in Paris, and later in 1913, was exhibited at an exhibition at the Durand-Ruel Gallery in New York.
Pissarro attempted to create a series of the Éragny landscapes depicting different aspects of an orchard shown with the changes of the four seasons. Christopher Lloyd commented on the artist’s attempt: “Like Monet at Giverny, Pissarro’s examination of the rural spectacles that surrounded him was intense.
He luxuriated in the changing temporal conditions and found the fogs, frosts and snow of winter or the vibrant warmth and lush verdure of summer equally rewarding. Pissarro also began to paint in series, restlessly altering his position or line of vision, but relying basically for his visual variety on the changing seasons or the divisions of the day.”
Before his death, Pissarro defined his painting method, saying, “When I start a painting, the first thing I strive to catch is its harmonic form. Between this sky and this ground and this water, there is necessarily a link. It can only be a set of harmonies.” As seen in this work, the Éragny landscapes that Pissarro, a lifelong “pastoral painter,” produced in his final years were painted in accordance with this principle of harmonic form. In the painting, he is looking in a different direction than in his Spring…, and the red-brick roof and chimney of a farmhouse can be seen in the middle of the picture. However, as seen from the free speckled brushwork in the grasses, the detailed touches in the foliage of the trees, and the fluent brushstrokes in the sky, there is no change in his technique.
What is significantly changed is the color palette. Compared to the fresh yellow-green ground, pale green leaves of the trees adorned with flowers, and limpid blue sky that are seen in the Spring…, the Autumn… depicts the ground tinged with the color of withered leaves, the dark green foliage, and the overcast cold gray sky, presenting the hues characteristic to the rather dry autumn.
展出地点：東京富士美術館 Tokyo Fuji Art Museum,Japan