在1890年,在欧洲的不同国家兴起了一种新的绘制风景画的样式,显然易见,画家所注重的是伴随着形式的日益抽象来表达特定的心理诉求。风景画,事实上在十九世纪后半期就成为一种关键的绘画题材,尤其是印象主义的绘画,它加速了“主题绘画”的“死亡”。然而就在它剥去它的描述性功能的题材之际,象征主义有效地将风景画变回了一种主题性的对象。虚幻和现实的空间就如同一个介于与神话和历史有着冲突的场所一样。 In 1890, a new style of drawing landscapes emerged in different countries in Europe. Obviously, the painters focused on expressing specific psychological demands with the increasing abstraction of form. Landscape painting, in fact, became a key painting theme in the second half of the nineteenth century, especially impressionist painting, which accelerated “death” in “thematic painting.” However, just as it stripped off the theme of its descriptive function, symbolism effectively transformed landscape into a thematic object. The space of illusion and reality is like a place that conflicts with mythology and history.