【郭老論美】梵谷因精神狀態的兩極畫風

同樣是麥田主題，前後兩年，梵谷的二張「麥田」油畫，展現神韻大大不同。這正可驗證神智狀態與作品表現的必然性。
參閱圖1：
”The Wheat Field ” （1889）
Oil on canvas，24.1 x 33.7 cm.
圖2：
"The harvest" (1888)
oil on canvas，73 x 92 cm
前者色彩混濁、筆觸沉重，或許與顏料優劣和保存情況有關係。但是，畫中抑鬱的情緒，透過山巒輪廓遲滯的線條，直白的傳達作者壓抑心理的嚴重病態。
尤其是色彩的晦澀不明，絕對是悲觀主義者的心聲。即使一抹紅艷的屋瓦，像似血滯般的聳動，在我看來，簡直是死亡之前的呼喊。

圖2：梵谷畫作「豐收 」"The harvest"(1888)
oil on canvas，73 x 92 cm（圖取自網路）

而前一年的「麥田」，截然不同。陽光底下的耕作，農人愉悅的豐收，連藍天也是一碧如洗。那麼梵谷的心智狀態如何呢？且看他的書信：
Letter from Vincent to Theo. Arles, May 28, 1888：
"...What I’d like to do is the panorama of which you have the first drawings — it’s so wide — and it doesn’t fade into grey, it stays green to the last line — and that’s blue, the range of hills. Thunderstorm and rain today, which will do good anyway. "
"...I have a new subject on the go, green and yellow fields as far as the eye can see, which I’ve already drawn twice and am starting again as a painting, just like a Salomon Koninck, you know, Rembrandt’s pupil who made the vast flat landscapes"
"...As for landscapes, I’m beginning to find that some, done more quickly than ever, are among the best things I do.
It’s like that with the one of which I sent you the drawing, the harvest and the haystacks too — it’s true I have to retouch everything to adjust the workmanship a little, to harmonize the brushstrokes, but all the essential work was done in a single long session, and I’ll spare it as much as possible when I go back to it.”.......
梵谷此時一反常態，變身為一位理性睿智的學者，清晰地面對自己作品，喋喋不休的討論用色、用筆....的心得。此時的畫家，無疑是一位帝王，在畫布目前，就是充滿自信的勝利者。
因此，真實的畫家用生命作畫，有時神聖，有時瘋狂，而其成就端看才華的高低，更憑胸襟的寬大與個人的意志。
若梵谷者，千載一人耳！