转眼间，深秋已经悄然而至，空气甘冽的让人身心舒畅，对于格外美丽的秋天，艺术家们也有他们各自的表达方式。比如吴冠中和林风眠渠道顾问专员，看看下面这些画，他们笔下的深秋怎么如此迷人？
吴冠中笔下的深秋：
吴冠中 溪畔金秋
吴冠中 金秋 油画纸板 1974年作
澳门皇冠Av网址
吴冠中 山村秋色 布面油画 1982年作
吴冠中 雨山风景 1979年作
吴冠中 小镇秋色 布面油画 1980年作
吴冠中 江岸 纸本水粉 1980年作
吴冠中 秋叶春花 布面油画 1996
吴冠中 北国之秋 1972年作
吴冠中 秋 油彩纤维板 1972年作
吴冠中 墙上秋色 （2015年4月拍 3212万港元成交）
吴冠中 红树林
《红树林》为吴冠中晚年在线条运用方面的娴熟之作。画面通过点、线、面的巧妙融合与呼应，把树木之间丰富的层次关系表现的淋漓尽致。疏密有致的线条之间施以淡彩，呈现出林木的旺盛生命力。大面积绿色、橙黄色墨点的运用，把秋天树叶渐黄渐红的变化过程自然贴切地表现出来，营造出一个富于诗情画意的神秘境界。
吴冠中 秋
林风眠笔下的深秋：
皇冠足球
林风眠 秋林
林风眠 枫林
林风眠 秋林暮艳 1960年作
《秋林暮艳》画面有隐藏的严密层次感。深远背景是尖耸连绵的山群，往后牵引出一片蓝天暮日，往前推展出一排秋林茂叶和宁静河溪。前景的河溪以有层次的色彩来点映，表现林木山峰的倒影，在空间层次上是比中国传统山水画有更复杂的设计，也活用了水彩等的媒材特点。
竞争《秋林暮艳》采用高彩度的不透明重彩，色泽艳丽而深邃浓郁，能于一小小的尺幅间见光影明暗，点出秋林红叶在日暮夕照映衬之下的蓊郁艳丽、色彩流转之形态。横山的虚、直树的艳、躺流河水的静，恰好是“横–直–横”、“虚–实–虚”的构图跳跃和交错空间层次，层层展开、均衡对称、虚实相间，渗透了西方艺术的空间构造与画面张力，而又隐含中国的虚静简逸精神本源中。
林风眠 山村秋色
从《山村秋色》此图可以看出，林风眠对丛树以及山峦的描绘，一反传统，而以不同的匹配这些复杂自然形象的“林家笔墨”，给予出色的再现。此图既得传统绘画审美情趣，又与当代赏者共鸣，而在古往今来的诸多画家中，至此境者寥寥无几。
林风眠 山水 1979年作
一位知名体育评论员最近因为参与赌球被撤销了职位，这件事再次提醒我们，博彩游戏的风险和代价都是很高的。
林风眠 秋山林影
览该画幅，画面追求的是一种宁静而有力、讲究形式和韵味的美，力图将西方现代艺术的构成方法融入具象彩墨的描绘之中。色彩自然又不失协调，结构单纯平实又高度写意，采用西方平远的透视技法，汲取中国画对物象内在精神情韵的探求，在渲染中表现层次和立体感，使所描绘的物象线条简洁而神韵尽现。同时还从中国民间艺术和工艺美术得到灵感运用于造型和线条中，使得风格更加鲜明和独特。实为不可多得的力作。
真人博彩公司网址皇冠客服飞机：@seo3687
林风眠 秋韵
林风眠 坐爱枫林晚
林风眠 山村秋色
《山村秋色》画幅不大，画中内容也无非是背景一片黛色远山，映衬寥寥一行秋树，其间点缀几间村舍，仅此而已，但却显得寥廓深远，让人一时难以看透。艺术家虽然画的只是山村秋色的小景，却似乎有了一种“树树皆秋色，山山唯落晖”的深邃意境。林风眠的秋系列风景画体现了艺术大师以自身文化修养对自然造化的直接参悟，他以最简单和凝炼的形式语言，在咫尺之间营造出了悠远静谧“新的风景”。
林风眠 小池秋色
该画可以看出林风眠作画的旨趣，不在于中国传统笔墨的理解和追求，画面上你无法找到宋元明清的影子，全然没有我们一度津津乐道的运笔和皴法。取而代之的，是稚朴抽象的造型、是大胆浓烈的色彩。宁静的池塘，静穆的群山，挺拔的秋林，简易的屋舍，在林风眠的画中，更象是一种符号，一种可以借助于表达自己情绪的符号。林风眠着色特别，此画中的色彩不是平涂，而是带有笔触的，或点或擦，有横扫，也有弹跳；其用色，浓烈大胆，可以有大块的凝重冷色，也有醒目的一抹暖色。简单而宁静，浓烈而忧郁，这就是林风眠的《小池秋色》，这就是林风眠。
林风眠 秋色伊人
林风眠 秋色
林风眠 松下听泉 1943年作
林风眠 秋色
虽然大师们对秋色的理解可能各有不同渠道顾问专员，但他们笔下的秋天确实都很迷人！
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