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In the 19th century, in Sweden, which was far from the center of Europe, there emerged an outstanding painter named Zorn. Not only were his oil paintings excellent, but his watercolors, gouaches, and copper engravings were also remarkable. His paintings were rich in rural flavors, mainly depicting familiar people and local customs around him, such as the scenes of workshops, watersides, forests, and meadows, along with figures, especially nude women and babies. He painted them with great charm. Particularly, those bathing women and babies at sunset were full of the poetry of life and passion.

Dawn and dusk are the favorite times for artists. During these two periods, the colors change unpredictably, and the ethereal and delicate colors enhance the painters’ ability to express a rich palette. Although Seurat could paint the mid – day scenery in a hazy way, it was just an exception. Most painters were fond of dawn and dusk, especially the evening time. We all remember that when Leonardo da Vinci painted “Mona Lisa”, he added an outdoor scene of the sunset, making the situation and the subject blend perfectly.

The illusions of a day lie in dawn and dusk, and the illusions of a year lie in spring and autumn. Similarly, spring is a time when all kinds of flowers are in full bloom, and autumn is a season when the mountains are covered with colorful yellow leaves. Therefore, the dawn and dusk of a day are often the scenes that painters like to depict, whether in oil paintings or prints. In Zorn’s works depicting bathing women and children, the lines are gentle and soft. They are often bathed in the afterglow of the setting sun, forming a beautiful poem of life scenery when contrasted with water plants, trees, and forests.

Painters with a sense of nostalgia and homesickness often have a utopian vision. Artists who live in the countryside far from the bustling city center have a strong grass – roots sentiment. Zorn was very familiar with the rural scenery, which made it easy for him to paint his subjects, and he poured his strong emotions into his works. For example, his famous watercolor painting “A Walk in the Woods” depicted his wife and the forest where they often went. Every blade of grass and every tree seemed to have a spirit, which was due to his deep attachment to the countryside. Similarly, those warm bathing scenes at dusk often appeared in his field of vision, so he could express them with great charm. Even his colorless copper engravings (as shown in the picture above) could make people, like “Hamlets”, associate with the afterglow of the setting sun and the play of light and shadow.

Zorn did not follow the path of Impressionism. Instead, he absorbed its beneficial elements, making his works more inclined to realism and closer to the appreciation level of the rural people and the general public. Of course, his brushstrokes were bold, passionate, and a bit free – spirited, containing elements of romance.

Zorn was a Swedish painter whose works were exhibited in China in the 1980s. His exhibitions were held in Beijing, Shanghai, and Changsha, and they had a significant impact on Chinese painters on the Chinese mainland at that time. He was also the only well – known foreign painter whose real works I had the chance to see. Of course, I had seen many real works of foreign painters. Earlier, I visited a British art exhibition named “Water – Carrying as Art” at the Shenzhen Museum, but most of the painters there were not well – known.

(Written by Lei Jialin on March 30, 2014)

雷家林在讨论安德列斯·佐恩（Andreas Zorn）时，主要分析了其艺术风格特点： 艺术风格特征 佐恩的绘画以光影对比和色彩运用著称，擅长通过光影层次营造立体感，色彩表现上追求透明湿润的质感。这种风格的形成与其在斯德哥尔摩美术学院的学习经历密切相关，他吸收了新艺术观点与外光派的影响，尤其在油画创作中注重外光效果与古典技法的融合。 1 2

历史背景 佐恩出生于瑞典工人家庭，15岁进入斯德哥尔摩美术学院学习，因思想开放被视为“异类”而中途退学。其作品在19世纪瑞典画坛具有里程碑意义，被视为欧洲现代绘画先驱。 2

技法影响 佐恩的技法对20世纪艺术发展产生深远影响，其水彩画技法与油画技法的差异，反映了不同画种对光影表达的适应性差异。这种技法探索与雷家林提到的“油画无法完全展现湿润透明感”的观察角度一致。 1

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