Oasis,《绿洲》
爱艺
Rene Magritte painted Oasis in 1925， a simpler work with a title that is literal and presents no problem at all.
The small table on which the trees are standing is painted in Chinese perspective. The clouds appear partly in front of and partly behind the crowns of the trees， while the distance between the clouds and the ground is too small to be realistic. Thus Magritte has altered spatial proportions here and shown that perspective is relative. In other words， he has tried to free the natural world from the rules and customs to which it is subjected by our conception of it. Through his presentation our perception becomes intensified， while our experience of space becomes a more intimate one. There is an infinite silence in this painting. In the clouds （but not on them） is a bright light， and the blue of the sky on the horizon changes color until it approaches the deep midnight blue only in fourteenth- and fifteenth-century Italian painting.
The attractiveness of the Oasis is the absence of all stereotype effects or mere dexterity; the style of painting is laborious， austere， direct.
《綠洲》是勒内·马格利特1925年的作品，十分简单，画名如实表达画面内容，没有任何问题。
画面上的小桌子是用中国的散点透视法呈现的，桌上长着几棵树。云朵有的飘在树冠前，有的隐在树冠后，而云与地之间的距离很小，一看就不是真实世界。马格利特就是以此改变了空间比例，表明视角都是相对而言的。换句话说，他试图打破我们观念中固有的对自然界形态的条条框框。看到他所呈现的画面，我们的感知增强了，与空间的关联也更紧密了。画中蕴含一种无限的寂静。云中（而非云上）有一道亮光，地平线上的天空显现出由浅及深的渐变蓝，最深处是14和15世纪意大利绘画独具的深沉的午夜蓝。
《绿洲》的魅力就在于摒弃了所有刻板印象造成的影响或者说放弃了单纯炫技;画风透露出工匠精神，质朴直率。
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