《大碗岛的星期天下午》（A Sunday Afternoon on the Ile de la Grande Jatte）是点彩画新印象主义代表画家乔治·修拉创作的一幅布面油画，该画于1886年展出，现收藏于美国芝加哥美术学院。 

该画描写了人们在塞纳河阿尼埃的大碗岛上休息度假的情景：阳光下的河滨树林间，人们在休憩、散步，垂钓，河面上隐约可见有人在划船，午后的阳光拉下人们长长的身影。这幅画主要采用了点彩画法，画面宁静而和谐。

画面上的大碗岛是位于巴黎附近奥尼埃的一个岛上公园，也是巴黎人盛夏理想的避暑圣地。此画描绘了盛夏时节人们在大碗岛上游玩、乘凉的情景。

画面远处，碧蓝的湖面上有人驾着轻巧的白色帆船，有人坐在小木船里任其飘荡，还有一些人在齐心协力的划着长长的龙舟。一位年轻的女孩打着阳伞，站在湖边举目眺望，微风轻轻的吹起它的裙摆。女孩身后的草地上，有的人席地而坐，有的人悠闲散步。

近处，一位撑着红色阳伞的母亲正牵着她可爱的女儿向浓荫处走来，绿荫下，一个穿着红色背心的中年男子正半卧在草地上，神情惬意的抽着烟斗，他旁边坐着一位年轻少妇和绅士。

中间，一位天真烂漫的少女正轻闻着她手中的那一束野花。最右边，一位贵妇站在她丈夫身边，斜打着黑色阳伞，正准备向前走去。他们脚下，可爱的小狗早已按捺不住，欢快的向前方一只黑犬跑去，在这里人们没有烦恼，只有愉悦，一切都是那么和谐、温馨。

创作背景

在世界美术史上，印象主义到后来衍生出了“后印象主义”和“新印象主义”两个派别。其中的新印象主义是对印象主义色彩运用的进一步科学化和精确化。通过分光镜可以把太阳光分析成七种颜色，印象派只是用这七种混合的原色作画，并注意色彩在不同的光线照射下发生的不同变化。而新印象主义不用混合色，而是通过科学方法将自然中存在的色彩分剖为构成色，用微小的笔触画在画面上，形成小色斑块，靠观赏者眼睛的自然混合产生中间色，并通过色光的混合，增加光量，提高光的反射率和透明度，使颜色的调和达到和谐、鲜明的效果。因而，可以说新印象派把光和色彩运用得更为精确和机械。《大碗岛的星期天下午》就是“新印象主义”的代表作。

修拉是根据自己的理论来从事创作的，他力求使画面构图合乎几何学原理，他根据黄金分割法则，将画面中物象的比例，物象与画面大小、形状的关系，垂直线与水平线的平衡，人物角度的配置等，制定出一种全新的构图类型。注重艺术形象静态的特性和体积感，建立了画面的造型秩序。《大碗岛的星期天下午》就是依据这个理论创作的代表作品。

画面上的大碗岛是位于巴黎附近奥尼埃的一个岛上公园，每到周末的时候就会有很多人来这里休息、玩耍，修拉在周末的时候也会经常来这里寻找灵感，有一天他灵感奇发，便决定创作这幅《大碗岛的星期天下午》。为完成这幅作品，修拉画了三十多幅习作和色彩稿，花了整整两年时间来绘制，他每天上午都会到海滩观察游玩的人，然后下午回家把这些人物画下来。

画面上聚集了许多周末来这儿游玩的人们，画家着意把画面分成了被阳光照射的部分和处于阴凉中的两部分，使画面构成了鲜明的对比。画面上的人物有的站在那里欣赏风景，有的躺卧或坐在地上自娱自乐，有的成双成对地谈笑，有的面对湖面，独自沉默，右下角几只小狗在地上游逛。

画面上的人物与周围的湖面、树木等构成了精密和谐的构图，使画面上物象的比例、物象与整个画面的大小、垂直线与平行线的平衡达到了一种理性的和谐和科学秩序下的统一。比如近处阴影下站着的一对高个夫妇与阳光下撑着伞的一对母女以及远处一个正在作画的男士，处于一条水平直线上，而精湛的近大远小的透视法使他们看上去比例和谐、科学，又让人觉得格调明快、有趣，充满活力。画上的人物形象都不是很清晰，显然这不是画家最关心的，画家刻意追求的就是把众多人物安置在精确的几何图形中，在光线的照射下，使画中的固定人物形成一种奇妙而又特别有秩序的和谐。仔细观看，会觉得画中的人物在各自的位置上形成了一种超越时空的凝重，仿佛各自都必须坚守自己的位置，不能打破某种默契，让人感受到一种理性的不可违抗的井然和秩序。

此图注重构图的严谨性，利用“黄金分割”比例构图，修拉将人物的大小比例变化根据构图的需要进行改变，使画面显得整体有序

与以往的绘画作品比较，这幅画最大的特点就是画面上布满了精密、细致排列的小圆点，这些小圆点是用不加调和的暖、冷色以及相近色、互补色等堆积而成的，在欣赏者一定距离的视角范围内观看，形成了鲜艳和饱满的色彩效果。

画中的黄色和橙色占主导地位，黄色与绿色、白色、黑色相互搭配交织，形成了温暖、鲜明的色调，看上去赏心悦目。

画面上有大块对比强烈的明暗部分，每一部分都是由上千个并列的互补色小笔触色点组成，这些小点是直接用纯色点在画布上，并彼此连在一起，在远处看这些色点便在观众的眼睛里相互调和成相应的颜色，使观众的眼睛从前景转向觉得很美的背景，整个画面的色彩显得鲜艳、明亮，画中的人物似乎处在一个光色迷离的氛围中，形、色光也达到了完美的结合。

在这幅画里画家使用了垂直线和水平线的几何分割关系和色彩分割关系，描绘了盛夏烈日下有40个人在大碗岛游玩的情景，画面上充满一种神奇的空气感，人物只有体积感而无个性和生命感，彼此之间具有神秘莫测的隔绝的特点。

乔治·修拉极为讲究精密秩序构图的“点彩画法”，画中人物都是按远近透视法安排的，并以数学计算式的精确，递减人物的大小和在深度中进行重复来构成画面，画中领着孩子的妇女正好被置于画面的几何中心点。 

画面中的近大远小并不是传统的直上直下，而是直上直下的近大远小与斜向的近大远小并存，画面人物虽然众多，但井然有序，每个人物就像是被安排在了象棋格子中。 

除去斜向的近大远小变化，画面还包括等腰和钝角两个三角形，钝角三角形的顶点指向画面很远的地方，它的两条边就像是透视线，两边上分别安排有几组人物。而等腰三角形的灭点和画面中心重合，定格于打伞的妇女身上，其两条边也同样整齐的安排了从大到小的人物。

此外，画面中基本每条线段上都被安排了三组主要人物，中间人物与两边人物的距离又不是那么随便安排的，这些距离的比率与黄金分割相符。

后世影响

修拉的这幅画预示了塞尚的艺术以及后来的立体主义、抽象主义和超现实主义的问世。

《大碗岛的星期天下午》是一幅具有里程碑意义的作品，对现代艺术的产生起到了直接的启迪作用。

斯蒂芬·桑德海姆以《大碗岛的星期天下午》作为灵感来源，创作了音乐剧《星期天与乔治同游公园》。

名家点评

法国印象派画家毕沙罗：《大碗岛的星期天下午》是一幅让人耳目一新的伟大之作。修拉这位优秀的画家，是第一个有此构想，并在一番彻底的研究之后，将理论科学运用出来的人。 

比利时诗人凡尔哈伦：《大碗岛的星期天下午》，在我看来是探索最真实光线的一次决定性尝试。没有任何碰触；一种均匀的空气氛围；一处从一个景到另一个景的顺畅通道，尤其是一种令人震惊的不可触知的空气。

作者简介

乔治·修拉（1859－1891），新印象主义的创始者和卓越代表。他出生于巴黎一个宗教气息很浓的保守家庭，在这样的家庭里他养成了孤僻的性格。曾学习过雕塑，后进入巴黎美术学院学习造型和绘画。受到化学家谢弗勒尔的色彩光轮原理的引导，创造了在画面上精密安排人物，合理安排细密色点的“点彩画法”，将色彩、线条的表现性与感情的特质结合了起来。他的代表作有《大碗岛星期天的下午》、《阿涅尔的浴场》、《马戏团的一幕》、《喧闹》等。

 

--------Introduction in English--------

 

"A Sunday Afternoon on the Ile DE la Grande Jatte" is A oil on canvas created by George seurat, A representative painter of neo-impressionism of pointillist painting. It was exhibited in 1886 and is now collected in the academy of fine arts of Chicago, USA.

The painting depicts the scene of people taking a rest and vacation on the island of big bowl in the Seine: people are resting, walking and fishing in the riverside woods under the sun. People can be seen boating on the river, and the long figures of people are pulled down by the afternoon sun. This painting mainly USES the dot color method, the picture is quiet and harmonious.

The island of la grande bowl is an island park in onier, near Paris, and an ideal summer retreat for parisians. The painting depicts people playing and enjoying the cool in the middle of summer.

In the distance, someone is driving a light white sailboat on the blue lake, someone is sitting in a small wooden boat to let it drift, and some people are pulling together in a long dragon boat. A young girl was standing by the lake with a parasol, looking up, and the breeze gently raised her skirt. On the grass behind the girl, some people sit on the ground, while others take a leisurely walk.

Nearby, a mother with a red parasol was walking her lovely daughter to the shade. Under the shade, a middle-aged man in a red vest was half lying on the grass, smoking a pipe with a pleasant look. Beside him sat a young woman and gentleman.

In the middle, an innocent girl was smelling a bunch of wild flowers in her hand. On the far right, a lady was standing beside her husband, leaning over with a black parasol, ready to move on. Their foot, lovely puppy already can not stand, cheerful to the front of a black dog ran, here people have no trouble, only pleasure, everything is so harmonious, warm.

The creation background

In the history of world art, impressionism later derived from the "post-impressionism" and "new impressionism" two schools. The new impressionism is the further scientific and accurate application of impressionism color. The light can be analysed into seven colours through a spectroscope. Impressionists paint with a mixture of seven primary colours and notice how the colours change under different light. And do not have to mix the new impressionist color, but through the scientific method points existing in the natural colour of color, with a tiny brush painting on the frame, form small splash block, intermediate generated by the viewer's eye naturally mix color, and through a mixture of light, increase light, increase light reflectivity and transparency, harmonic achieve harmony, bright color effect. Thus, it can be said that the neo-impressionists used light and color more precisely and mechanically. Sunday afternoon in the great bowl is a representative work of the new impressionism.

Seurat created his works according to his own theories. He tried his best to make the composition conform to the principle of geometry. According to the golden section rule, he worked out a new type of composition, including the proportion of objects in the picture, the relationship between objects and the size and shape of the picture, the balance between vertical lines and horizontal lines, and the configuration of figures' angles. It pays attention to the static characteristic and volume sense of artistic image and establishes the modeling order of the picture. Sunday afternoon in the great bowl island is a representative work based on this theory.

The big bowl island on the picture is an island park located in onier near Paris. Every weekend, many people come here to rest and play. Seurat often comes here for inspiration on weekends. To complete the work, seurat painted more than thirty studies and color sketches. He spent two years painting them.

There are many people who come here on weekends. The painter deliberately divides the picture into two parts: those exposed to the sun and those in the shade, creating a sharp contrast. Some of the characters in the picture are standing there enjoying the scenery, some are lying down or sitting on the ground to amuse themselves, some are talking and laughing in pairs, some are facing the lake and are silent alone, and some dogs are wandering on the ground in the lower right corner.

The figures on the picture form a precise and harmonious composition with the surrounding lake and trees, so that the proportion of objects on the picture, the size of objects and the whole picture, and the balance between vertical line and parallel line reach a rational harmony and the unity of scientific order. For example, a tall couple standing near in the shadow, a mother and daughter holding an umbrella in the sun, and a man painting in the distance are in a horizontal straight line. The exquisite perspective of near, far and small makes them look harmonious, scientific, and lively, interesting and energetic. The figures in the paintings are not very clear, which is obviously not the most concern of the painter. What the painter deliberately pursues is to place many figures in precise geometric figures, so that the fixed figures in the painting form a wonderful and especially orderly harmony under the light. If you watch carefully, you will feel that the figures in the painting form a kind of dignified beyond time and space in their respective positions, as if they must stick to their own positions and cannot break some tacit understanding, which makes people feel a rational and inviolable order.