布留洛夫的这幅绘画,是十九世纪的光辉现象之一。在某种踟躇不前状态中度过了漫长时间的绘画,在这里得到了光辉的复兴。我不准备谈论这种非同寻常的停滞状态的原因,虽然这是一项颇为有趣的研究课题;我只想说,虽然十八世纪末和十九世纪初在绘画界没有取得完满而重大的成就,但是这个时期的许多人却探索了绘画的各个组成部分。绘画被分解成为无数的原子和细部。其中每一个原子都比以往各个时期得到了无可比拟的深入发展和注意。人们发觉了以往任何人所末曾置疑过的神密现象。人们时时目睹的的全部自然,全部可见的自然,围绕着人、与人同生并存的全部自然,全部可见的自然,伟大艺术家所曾忽视的全部细节,全都得到了表现,而且真实和完美得令人惊叹。大家全都争先恐后地细察大自然所呈现的活生生的色彩。自然怀抱中的全部真秘,风景的全部无声的语言,都已被察觉,或 Bhilov’s painting is one of the glorious phenomena of the nineteenth century. The painter, who spent a long time in some state of hesitation, was given a glorious revival here. I am not going to talk about the reasons for this extraordinary stagnation, although it is a rather interesting subject of research. I just want to say that although the painting industry did not achieve completeness and greatness in the late 18th and early 19th centuries Achievements, but many in this period explored the various components of the painting. Painting is broken down into innumerable atoms and details. Each of these atoms has gained unparalleled depth and attention than ever before. People have discovered the mysterious phenomenon that no one in the past has ever questioned. All the natural, all-visible nature that people have seen from time to time, all the natural surroundings with human beings and human beings, the all-visible nature, all the details once overlooked by the great artists have all been manifested, and the real and the perfect Amazing. Everyone is scrambling to examine the vivid colors of nature. All the true secrets of the natural embrace, the entire silent language of the landscape, have been perceived, or