翻訳と辞書
Words near each other
・ The House of the Angel
・ The House of the Arrow
・ The House of the Arrow (1930 film)
・ The House of the Arrow (1940 film)
・ The House of the Arrow (1953 film)
・ The House of the Arrow (novel)
・ The House of the Crows
・ The House of the Dead
・ The House of the Dead (novel)
・ The House of the Dead (series)
・ The House of the Dead (video game)
・ The House of the Dead 2
・ The House of the Dead 2 & 3 Return
・ The House of the Dead 4
・ The House of the Dead III
The House of the Deaf Woman and the Belfry at Eragny
・ The House of the Devil
・ The House of the Five Senses
・ The House of the Four Winds
・ The House of the Lord
・ The House of the Lost Court
・ The House of the Millions
・ The House of the Mosque
・ The House of the Rising Sun
・ The House of the Rising Sun (disambiguation)
・ The House of the Scorpion
・ The House of the Seven Gables
・ The House of the Seven Gables (disambiguation)
・ The House of the Seven Gables (film)
・ The House of the Seven Hawks


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The House of the Deaf Woman and the Belfry at Eragny : ウィキペディア英語版
The House of the Deaf Woman and the Belfry at Eragny

''The House of the Deaf Woman and the Belfry at Eragny'' is an 1886 oil painting by French artist Camille Pissarro, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is a view of Pissarro's neighbor's yard in Eragny, created during his brief period of experimentation with pointillism.
==Description==
This painting depicts Pissarro's neighbor's yard, with her brick house and the steeple of the parish church rising behind it. It is one of Pissarro's best pointillist images, with the most consistent brushwork and a fine grasp of the color theory of Neo-Impressionism. Deep green, violet, and blue in the shadows contrast with dots of rose, orange, and yellow to recreate the brilliant summer sun.〔 Pissarro's great-grandson Joachim Pissarro, an art historian, declared that in this painting he "manages to blend his abiding respect for the new technical rules with a sense of freedom and spontaneity. The pulverizing chromatic effect of this new technique is extraordinary light, dazzling colors . . . a brilliant energy that seems to radiate from the canvas." The frame is a reproduction of the original, balancing Pissarro's preference for white with his dealer's insistence upon gold.〔

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