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早在上世纪30年代初期,我和俄罗斯美术结下了不解的情缘。那是1934年夏秋之际,徐悲鸿先生从莫斯科访问展出归来后,带来一大批俄罗斯古典及巡回展览画派美术作品的印刷品,其中有伯留洛夫的《邦贝城的末日》、克拉姆斯柯依的《贵妇人》、列宾的《伏尔加船夫》、《萨波洛什人写信给苏丹王》、《伊凡杀子》、《突然归来》、苏里柯夫的《近卫军临刑的早晨》、《莫洛卓娃的流放》,瓦斯涅佐夫的《开国三元勋》等等世界名作的复制品,徐先生对画讲解,他谈伯留洛夫的《邦贝城的末日》是俄罗斯油画之始日,意即俄罗斯称得上世界水平的真正油画是从《邦贝城的
As early as the early 30s of last century, I had a mysterious relationship with Russian art. It was the summer and autumn of 1934, when Mr. Xu Beihong returned from his visit to Moscow and brought a large number of prints of Russian classical and roving exhibition art works. Among them are Buryarov’s “Doomsday of Pompeii”, Carat Muscovy’s Lady, Volker Boatman in Repin, The Sapolos to the Sultan, Ivan the Secrets, Sudden Return, The morning of the Provisional Corps, the exile of Molotsova, the Vladimir Vashensov’s founding fathers, and other world masterpieces. Mr. Xu explained the painting and he talked about Berlív’s “ The Last Days of Bay City ”is the beginning of Russian oil painting, meaning that the real oil painting that Russia can claim at the world level is from"