爱艺译

In this canvas， Renoir has returned to one of his favorite spots along the Seine to explore again the beauties of the glinting water. True to Impressionist practice， the artist focuses on the glorious spectrum of outdoor light as it floods the landscape. With a technique that is at once dashing and rigorously controlled， he recomposes in paint his own soft vision of natures radiance. Yet he remains sensitive to the wealth of contrasting textures that greet his eye， and adjusts his brushwork to evoke not only the color but the “feel” of grass or water or windy， cloud-filled sky. That he accomplished this double task without sacrifice of internal consistency of technique， or loss of an overall sense of artistic personality， shows how completely Renoir assimilated the Impressionist method to his own purposes. Almost casually he takes in the sweep of the landscape and the happy fellowship of the group of four sketched figures in the lower left of the composition.

The very presence of the boaters suggests another characteristic of Renoirs art. Though like the other members of the Impressionist group he painted landscape for itself， he loved to include his friends in his canvases. The rapport of the figures and their setting is complete. They are seen within nature， not distinct from it. They share the same qualities of texture， light， and color， as with easy informality they merge with the beauties of their surroundings. But their function is structural， as well as narrative. The accent of the group anchors the slashing diagonal of the vermilion boat， as it in turn counters the generally leftward movement of the river and its banks into the far distance at the upper left. The verticals of the figures moreover serve to support and clarify the horizontal elements of boats and farther river banks， which at once define and amplify the flow of the broad and sparkling waters.

In one passage alone is the painters intention perhaps unclear， where a blue-gray patch of sky at the upper left seems to move aggressively forward from its place on the distant horizon. Elsewhere the reconciliation of space and surface is extraordinary—particularly in reds. The artist traces his color line through a range from scarlet to the palest pinks， and weaves it into the web of his contrasting tones. The result we all can see： a light-hearted world aglow with shimmering summer light.

在這幅画中，雷诺阿回归塞纳河沿岸他最喜欢的某处，再次探寻粼粼波光之美。雷诺阿完全遵照印象派画法，专注于表现灿烂的户外光，城市风景浸没在各色光线中。他运用技巧时既自由奔放又严加控制，通过绘画重构自己对大自然光辉的柔和印象。不过他仍保持着对眼前丰富事物的那份敏感，这些事物质感不同，对比鲜明;同时，他调整了笔法，让人们不仅注意到色彩，还感觉到绿草、碧水、轻风和云天。没有牺牲技术的内部一致性，也没有丧失画作整体的艺术个性，雷诺阿成功完成了这双重任务，表现出他已将印象派技法完全融入画笔，技法可以随意为其所用。似乎不经意的寥寥数笔，他便勾勒出远处的一片风景和画面左下方的快乐四人组。

特别呈现的船夫形象暗示了雷诺阿绘画的另一个特点。虽然他也像印象派其他成员一样单纯描绘风景，但他喜欢把自己的朋友嵌入画中。这些人物与画面背景和谐一致，呈现完整。他们看上去就是自然的一部分，并没有格格不入之感。他们与自然拥有相同的质感、光线和颜色，所以能与身处的美景轻松融合。这些人物的作用不仅体现在叙事上，还体现在构图上。这群人的中心是那条朱红色小船，醒目地斜在河面上，似是要逆流而上，因为一眼望去，河水及河岸皆向左延展，一直伸向遥远的左上角。此外，直立的人物撑起了河面上多只小船和更远的河岸，让小船和河岸的水平线条更为明晰，这不仅突显而且强化了这条水面宽阔、波光粼粼的河流。

或许只有一小块画面让人看不透雷诺阿究竟想表现什么，就是左上角的那块蓝灰色天空，它似乎要从遥远的地平线直冲而来。在其他地方，天空与水面的调和无与伦比——尤其是那些深浅不一的红色。从极深的红到极浅的粉，雷诺阿始终用这一系列红色点彩勾描，并将其编入对比鲜明的色调构成的色网中。最终呈现在每位观者面前的就是：一个无忧无虑的世界，闪耀着夏日的微光。