愛藝

Rene Magritte painted Oasis in 1925， a simpler work with a title that is literal and presents no problem at all.

The small table on which the trees are standing is painted in Chinese perspective. The clouds appear partly in front of and partly behind the crowns of the trees， while the distance between the clouds and the ground is too small to be realistic. Thus Magritte has altered spatial proportions here and shown that perspective is relative. In other words， he has tried to free the natural world from the rules and customs to which it is subjected by our conception of it. Through his presentation our perception becomes intensified， while our experience of space becomes a more intimate one. There is an infinite silence in this painting. In the clouds （but not on them） is a bright light， and the blue of the sky on the horizon changes color until it approaches the deep midnight blue only in fourteenth- and fifteenth-century Italian painting.

The attractiveness of the Oasis is the absence of all stereotype effects or mere dexterity; the style of painting is laborious， austere， direct.

《綠洲》是勒內(nèi)·馬格利特1925年的作品，十分簡單，畫名如實表達畫面內(nèi)容，沒有任何問題。

畫面上的小桌子是用中國的散點透視法呈現(xiàn)的，桌上長著幾棵樹。云朵有的飄在樹冠前，有的隱在樹冠后，而云與地之間的距離很小，一看就不是真實世界。馬格利特就是以此改變了空間比例，表明視角都是相對而言的。換句話說，他試圖打破我們觀念中固有的對自然界形態(tài)的條條框框?？吹剿尸F(xiàn)的畫面，我們的感知增強了，與空間的關聯(lián)也更緊密了。畫中蘊含一種無限的寂靜。云中（而非云上）有一道亮光，地平線上的天空顯現(xiàn)出由淺及深的漸變藍，最深處是14和15世紀意大利繪畫獨具的深沉的午夜藍。

《綠洲》的魅力就在于摒棄了所有刻板印象造成的影響或者說放棄了單純炫技;畫風透露出工匠精神，質樸直率。