文森特-梵高，布面油画，1890年，辛辛那提艺术博物馆，49.5x99.7cm
In May 1890 Vincent van Gogh left the asylum at Saint-Rémy for Auvers-sur-Oise, a small village north of Paris which he described as “Edenic”. On July 27 he shot himself, dying two days later. The myth of the suffering artist, whose madness enabled him to transcend the limitations of art, has colored perceptions of him ever since. Van Gogh himself noted that bouts of madness only spurred him to work during his periods of sanity; during his final months at Auvers he painted nearly one canvas a day.
1890年5月，文森特-梵高离开圣雷米的庇护所，前往巴黎北部的一个小村庄奥维尔，他将那里描述为“伊甸园”。 7月27日，他开枪自杀，两天后死亡。这位饱受苦难的艺术家，其疯狂使他超越了艺术的局限，从那时起人们对他的看法就变得丰富多彩。梵高自己也注意到，癫狂的发作只会促使他在神志清醒的时候工作；在奥维尔的最后几个月里，他几乎每天画一幅画。
In a letter to his younger brother, Theo, dated June 30, 1890, van Gogh explained the structure and brilliant colors of Undergrowth with Two Figures: “The trunks of the violet poplars cross the landscape perpendicularly like columns,”adding “the depth of Sous Bois is blue, and under the big trunks the grass blooms with flowers in white, rose, yellow, and green.”Concealed amid the lush carpet of grass and flowers and a proliferation of slender tree trunks, two lovers reiterate the theme of nature’s fecundity.
在1890年6月30日写给弟弟西奥的一封信中，梵高解释了《有两个人的灌木丛》的构图和绚丽色彩：“紫杨树的树干像柱子一样垂直穿过地平线，”并补充说“灌木丛是蓝色的，大树干下的草地盛开着白色、玫瑰色、黄色和绿色的花朵。”隐藏在茂密如毯的花草和大量细长的树干中，一对恋人重申了大自然丰饶的主题。
Undergrowth with Two Figures has a silvery tonality characteristic of van Gogh’s works from Auvers. His brushwork may be swift and visceral, his colors strong and biting, his emotion raw and visible, but the composition reveals no hint of psychological torment. It is painted on a double square canvas, twice as wide as it is high. Van Gogh explored the artistic possibilities of this panoramic format in several of his last paintings.
《有两个人的灌木丛》具有梵高在奥维尔的作品所特有的银色色调。他的笔触可能是迅速而内敛的，色彩强烈而刺激，他的情感不加修饰而清晰可见，但作品却没有显露出一丝心理上的折磨。它被画在一张双倍的方形画布上，宽度是高度的两倍。梵高在他最后的几幅画中探索了这种全景格式艺术的可能性。
We present today's work thanks to the Cincinnati Art Museum. :)
感谢辛辛那提艺术博物馆与我们分享今天的画作。:)
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