有农民的森林边缘和背景中的村庄；verso：风景素描 - 美国大都会艺术博物馆展品查阅

品名（中）	有农民的森林边缘和背景中的村庄；verso：风景素描
品名（英）	A Forest Edge with Peasants and a Village in the Background; verso: Landscape Sketch
入馆年号	2011年，2011.456
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Pieter Barbiers II【1749 至 1842】【荷兰人】
创作年份	公元 1761 - 公元 1842
创作地区	原产国: 荷兰（Country of Origin: The Netherlands）
分类	图画（Drawings）
尺寸	页: 11 15/16 x 15 7/16 英寸 (30.3 x 39.2 厘米)
介绍（中）	透过粗糙的茎部的曲率，这片景观右侧的雄伟树木将我们的视线吸引到构图中，越过坐着的农民，走向站在一座大农舍前的人物，再到远处的钟楼。平衡的构图是由荷兰艺术家彼得·巴比尔斯（Pieter Barbiers）用黑色粉笔和灰色水洗的组合绘制的。 Barbiers是一个艺术家家庭的成员，在阿姆斯特丹工作，最初是一名壁挂画家 - 大型阿卡迪亚风景合奏，用于装饰客厅。当 1800 年左右对这种艺术形式的兴趣开始减弱时，巴比尔斯将他的注意力转向制作风景画、绘画和版画;当代收藏家对图像的需求量很大。在他的绘画中，巴比尔斯使用了活泼的水彩画和水粉画，以及我们在这里看到的单色灰色和黑色水洗。艺术家首先用黑色粉笔松散地描绘了风景。通过调整施加在粉笔上的压力，Barbiers获得了不同的密度，通过这些密度获得了明暗对比和深度的效果。为了渲染阳光的更全局的照明效果，Barbiers应用了各种渐变的灰色水洗，从而也加强了整体构图的易读性;明亮的前景将构图一分为二，首先将我们的注意力吸引到坐着的人物身上，然后是人物和农舍。纸张的背面显示了用黑色粉笔绘制的风景轮廓——这是对新构图的尝试，但没有进一步追求。
介绍（英）	Through the curvature in its gnarled stem, the majestic tree at the right of this landscape draws our eye into the composition, past the seated peasant towards the figures standing in front of a large farmhouse, and further to the bell tower in the distance. The well-balanced composition was drawn in a combination of black chalk and gray washes by the Dutch artist Pieter Barbiers. Barbiers was a member of a family of artists, working in Amsterdam, and started off as a painter of wall hangings - large ensembles of arcadian landscapes, used to decorate a drawing room. When around 1800 the interest in this art form started to wane, Barbiers directed his focus to making landscapes drawings, paintings and prints; imagery that was in high demand among contemporary collectors. For his drawings, Barbiers used both lively watercolors and gouache as well as monochrome grey and black washes, which we see here. The artist first loosely delineated the landscape in black chalk. By adjusting the pressure applied on the chalk, Barbiers obtained different densities, through which effects in chiaroscuro and depth were obtained. To render the more global lighting effects of sunlight, Barbiers applied various gradations of gray wash, thereby also reinforcing the legibility of the general composition; the brightly lit foreground divides the composition in two and draws our attention first to the seated figure and then to the figures and farmhouse. The reverse of the sheet shows the outlines of a landscape, scantily drawn in black chalk – an attempt at a new composition that was not further pursued.