[阿爾弗雷德·埃米爾·利奧波德·史蒂文斯]

阿爾弗雷德·埃米爾·利奧波德·史蒂文斯(1823年5月11日- 1906年8月24日)，比利時(shí)畫家。

史蒂文斯是19世紀(jì)后期比利時(shí)杰出的現(xiàn)實(shí)主義畫家。史蒂文斯主要活躍于巴黎，起初受科羅優(yōu)雅畫風(fēng)影響，他1855年的作品《流浪》展出后使政壇為之震動(dòng)。34歲以后他全力描繪在高雅的房間里鑒賞繪畫或東方藝術(shù)品的優(yōu)雅少女。他的作品完全遵循傳統(tǒng)。不過他響應(yīng)波德萊爾面向現(xiàn)實(shí)題材的號(hào)召，盛贊馬奈、布丹的作品，這還影響了惠斯勒和薩金特等。57歲以后他在海邊靜養(yǎng)，專門描繪海景。這幅《捉迷藏》，實(shí)際上畫家是借捉迷藏游戲描繪美麗少女形象和室內(nèi)裝飾，高貴典雅的人物和環(huán)境和諧統(tǒng)一，畫家從日常的風(fēng)俗題材中表達(dá)了對(duì)生活的熱愛。

阿爾弗雷德·史蒂文斯出生于布魯塞爾。他來自一個(gè)從事視覺藝術(shù)的家庭:他的哥哥約瑟夫(1816-1892)和兒子利奧波德(1886 -1935)是畫家，而另一個(gè)哥哥亞瑟(1825-99)是一位藝術(shù)品交易商和評(píng)論家。他的父親曾在荷蘭威廉一世(William I)的軍隊(duì)里參加過拿破侖戰(zhàn)爭，是一位藝術(shù)收藏家，擁有尤金德拉克羅瓦(Eugene Delacroix)和其他藝術(shù)家的幾幅水彩畫。他母親的父母在布魯塞爾開了一家名為“友誼咖啡館”(Cafe de l’amitie)的咖啡館，是政治家、作家和藝術(shù)家的聚會(huì)場所。所有斯蒂文斯的孩子都從他們?cè)谀抢镉龅降娜耍�以及他們�(cè)诔砷L過程中在重要人物身邊學(xué)到的社交技巧中受益。

1837年，父親去世后，史蒂文斯離開中學(xué)，前往布魯塞爾皇家美術(shù)學(xué)院(academy ie Royale des Beaux-Arts)學(xué)習(xí)。在那里，他認(rèn)識(shí)了新古典主義畫家弗朗索瓦·納維茲(Francois Navez)。按照傳統(tǒng)的課程，他在頭兩年從古典雕塑的模型中提取素材，然后從真人模型中提取素材。1843年，斯蒂文斯去了巴黎，加入他已經(jīng)在那里的哥哥約瑟夫的行列。他被巴黎最重要的藝術(shù)學(xué)院巴黎美術(shù)學(xué)院錄取。盡管有人說他是導(dǎo)演讓·奧古斯特·多米尼克·安格爾的學(xué)生，但這可能不是真的。史蒂文斯早期的一幅畫《赦免或赦免》(The Pardon or Absolution, Hermitage, St. Petersburg)于1849年簽署，日期為1849年。這幅畫顯示了他對(duì)傳統(tǒng)自然主義風(fēng)格的掌握，這在很大程度上要?dú)w功于17世紀(jì)的荷蘭風(fēng)俗畫。就像比利時(shí)畫家、他在巴黎的朋友弗洛倫斯·約瑟夫·瑪麗·威勒姆斯(Florent Joseph Marie Willems, 1823-1905)一樣，史蒂文斯仔細(xì)研究了杰拉德·特爾·伯奇(Gerard ter Borch)和加布里埃爾·梅蘇(Gabriel Metsu)等畫家的作品。

Alfred émile Léopold Stevens (11 May 1823 - 24 August 1906) was a Belgian painter.

Alfred Stevens was born in Brussels. He came from a family involved with the visual arts: his older brother Joseph (1816-1892) and his son Léopold (1866-1935) were painters, while another brother Arthur (1825-99) was an art dealer and critic. His father, who had fought in the Napoleonic wars in the army of William I of the Netherlands, was an art collector who owned several watercolors by Eugène Delacroix, among other artists. His mother's parents ran Café de l'Amitié in Brussels, a meeting place for politicians, writers, and artists. All the Stevens children benefited from the people they met there, and the social skills they acquired in growing up around important people.

After the death of his father in 1837, Stevens left middle school to begin study at the Académie Royale des Beaux-Arts in Brussels, where he knew François Navez, the Neo-Classical painter and former student of Jacques-Louis David who was its director and an old friend of Stevens' grandfather. Following a traditional curriculum, he drew from casts of classical sculpture for the first two years, and then drew from live models. In 1843, Stevens went to Paris, joining his brother Joseph who already was there. He was admitted to the école des Beaux-Arts, the most important art school in Paris. Although it is said that he became a student of its director Jean Auguste Dominique Ingres, this is likely not true. An early picture by Stevens, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, shows his mastery of a conventional naturalistic style which owes much to 17th-century Dutch genre painting. Like the Belgian painter and friend with whom he stayed in Paris, Florent Joseph Marie Willems (1823-1905), Stevens carefully studied works by painters such as Gerard ter Borch and Gabriel Metsu.