藍(lán)絲帶、藍(lán)色的絲帶The Blue Ribbon_阿爾弗雷德·埃米爾·利奧波德·史蒂文斯油畫作品欣賞
史蒂文斯和馬內(nèi)特在巴黎結(jié)下了親密的友誼，經(jīng)常在意大利大道上的里奇咖啡館里玩多米諾骨牌。史蒂文斯對(duì)馬內(nèi)特的欽佩得到了一位法國(guó)人的回應(yīng)，他曾說：“昨天我在霍斯謝家看到一位了不起的史蒂文斯，請(qǐng)轉(zhuǎn)達(dá)我對(duì)他的誠(chéng)摯問候�！�
與馬內(nèi)特的巴黎繪畫相似，史蒂文斯對(duì)穿著時(shí)髦服裝的優(yōu)雅女士的描繪也是他所處時(shí)代的記錄。史蒂文斯人脈很好，他與第二帝國(guó)社會(huì)最高階層的密切聯(lián)系意味著，即使是像馬蒂爾德公主和梅特涅這樣的社會(huì)名流，也經(jīng)常借給他模特的服裝。
藍(lán)絲帶沒有特別的敘述，但也不是沒有上下文。放在女孩面前的玫瑰花束和用來(lái)描繪她的衣服、帽子、陽(yáng)傘和后面花園的生動(dòng)調(diào)色板喚起了即將步入成年的年輕生命的純真。
Stevens and Manet had formed a close friendship in Paris and often played dominoes in the Café Riche on the Boulevard des Italiens. Stevens' admiration for Manet was reciprocated by the Frenchman who once remarked, 'Yesterday I saw at Hoschede's a superb Stevens, please pass on to him my sincere compliments'.
Similarly to Manet's paintings of Parisians, Stevens' depictions of elegantly dressed ladies in fashionable attire were a record of his times. Stevens was well connected and his close association with the highest echelons of Second Empire society meant that even such social luminaries as Princesses Mathilde and Metternich often lent him dresses for his models.
The Blue Ribbon has no particular narrative yet is not without context. The bouquet of roses placed in front of the girl and the vivid palette used to depict her dress, hat, parasol and the garden behind evoke the innocence of a young life about to enter adulthood.
