Beech Forest《山毛櫸林》

From 1901 to 1904 Gustav Klimt completed several paintings of different woods which sometimes are half-abstract， sometimes realistic， but they are always breathtaking.

1901年到1904年間，古斯塔夫·克里姆特完成了數(shù)幅描繪不同樹林的畫作。這些畫有的半抽象，有的寫實，但無一例外都令人驚嘆。

During his summer retreat in Litzlberg on Lake Attersee， Klimt started his days at 6 o’clock taking long strolls in the woods. The effects of these walks are amazing; the artist must have felt quite comfortable in nature. Here he chose to paint a calm autumnal scene rather than the mysterious， dark heart of the forest.

克里姆特在阿特湖畔的利茨爾貝格鎮(zhèn)避暑時，每天清晨6點就到樹林里散步，常常散步很久。這些散步產(chǎn)生了奇妙的效應(yīng)，克里姆特一定非常享受在大自然中的時光。在此，他決定畫一幅寧靜的秋景，而非神秘、昏暗的密林深處。

For his tree paintings， Klimt often chose square canvases—a pure geometric shape that was also one of Vienna Secession’s dominant decorative motifs.

在畫樹時，克里姆特經(jīng)常選擇方形畫布——一種純粹的幾何形狀，也是維也納分離派的主要裝飾圖案之一。

What is also characteristic of Klimt’s tree scenes is that we never see the sky. It is only suggested through tiny gaps in the upper parts of the paintings.

克里姆特筆下的樹景還有一個特點，就是從來看不到天空。畫家只是通過畫作上部的微小縫隙來暗示天空的存在。

A densely textured meshing of dots creates the golden carpet， as though the beeches’ bronzed fall foliage has fallen from the hidden tree tops. Crossing these dots are the striating horizontal lines of the tree bark. Klimt was undoubtedly fascinated that this series of horizontals， piled up into a columnar structure， created the vertical lines of the trees. The resulting tension is further exaggerated by the deployment of the two powerful polarized color blocks of red and green， whose oppositional forces accentuate the wood’s stillness.

密密麻麻的網(wǎng)狀色點構(gòu)成了金色的地毯，山毛櫸古銅色的落葉似乎是從看不見的樹冠落下。點網(wǎng)中穿插著樹皮上自然生成的水平條紋?？死锬诽?zé)o疑被這一景象迷住了：層層水平條紋堆積成柱狀體，構(gòu)成了豎直的樹木線條。由此產(chǎn)生的張力因濃烈的紅綠極化色塊的運用而進(jìn)一步加強(qiáng)，對立的色塊突出了樹林的靜謐。

This color tension also projects the trees dynamically out of the landscape so that they loom up translucently. Counterpoising the red floor， the trees ultimately blend into the vibrant green background.

這種色彩張力也使樹木仿佛是投射在畫面上，游離在景觀外，由此看上去清澈通透。樹木與紅色的地面達(dá)成平衡，最終融入了充滿活力的綠色背景。