十月景色October_1886_喬治·英尼斯油畫作品欣賞。
英尼斯顯然對他的畫作的標題并不在意。有可能許多作品是由他的遺產執(zhí)行人和他的紀念展覽的組織者命名的，他的一些作品甚至是在他死后署名和注明日期的。在20世紀早期，商人們經常給他的畫取他們認為更詩意的名字。
在遺囑執(zhí)行人的拍賣目錄中，這幅畫被命名為《米爾頓，我的畫室附近》，日期是1882年。它在技法和主題上與1882年的畫作(如布魯克林博物館(6月)非常相似，這似乎比它與1886年的大多數(shù)畫作更相似。
這幅畫最引人注目的特點是，它的水平和垂直元素的堅固結構以及它們之間的仔細平衡，一方面似乎更傾向于較晚的年代，因為這種合成構圖的原則在這位藝術家最后十年的作品中最為強烈。另一方面，這個概念在他1882年的畫作中似乎首先成為了一個支配原則。
這幅畫經過深思熟慮的結構在1882年甚至1886年都得到了改進，可以被認為是按照這種明顯的幾何圖形組織起來的最早的作品之一。它被畫上一半的地平線和樹間空隙的中垂線以及它在畫上一半的反射光切成相等的象限。樹木按一定的間隔排列，為這種平衡增添了節(jié)奏。它是值得注意的;然而，這種內在縮短了上面的大樹，也許是為了避免過于接近對稱的單調。
Inness apparently cared very little about the titles of his paintings. It is possible that many were titled by the executors of his estate and organizers of his memorial exhibition and that some of his works were even signed and dated after his death. During the early twentieth century dealers often gave to his paintings what they felt were more poetic titles.
When listed in the catalogue of the executor's sale, this painting was entitled Near My Studio, Milton and dated 1882. Its similarity in technique and motif to paintings of 1882, such as June (Brooklyn Museum), does seem greater than its resemblance to most paintings of 1886.
The painting's most striking feature, its firm structure of horizontal and vertical elements and their careful balance, might on the one hand seem to favor the later dating, since this principle of synthetic composition is strongest in the works of the artist's final ten years. On the other hand, this concept first seems to emerge as a governing principle in his paintings of 1882.
The painting's very deliberate structure was advanced for 1882 and even 1886 and may be considered among the earliest works organized according to such a conspicuously geometrical scheme. It is cut into equal quadrants by the horizon halfway up the picture surface and the central vertical line of the gap in the trees and its corresponding reflection halfway across the surface. The trees are arranged at measured intervals to add a rhythm to this balance. It is noteworthy; however, that Inness shortened the tall tree above, perhaps to avoid the monotony of too close a symmetry.
