好像发重了...吧主随便删一个吧

一幅画就是一首乐曲，或优美，或抒情，或流畅，或激昂，慢慢体会

理解太偏，不是画面中出现乐器就与音乐有关，那画面中可以出现的东西太多了．油画与音乐有很大联系，是两种运动方式，表现为节奏、旋律........

对！就是节奏，然后是曲调，就像你听到乡间小曲和宏伟的交响乐有不同的感受一样。绘画也有同样的功效！我认为音乐，绘画，诗歌等没有必然的联系，但是，他们的共同功能都是人精神层面需求的。

有说“天籁之音”的，音乐的美感很多情况下浑然天成，绘画的美感大都源自生活经验的积累。好的音乐可以无意识中感染人，直接叠加积极的情绪。而绘画通常强调主题，所以人为的因素，受社会背景，文化氛围的制约更多一点。也有搞纯抽象的，不过其实际美感仍然缺乏现实检验，众口难调，没有音乐更直接。
音乐纯粹是人造的，但却能很自然地散发对群体的影响。
绘画更多在复制自然美，结果却是非常强调个性表达。


谢谢楼上几位！节奏韵律什么的我都有想过，但是这样直接说未免有点太宽泛。我想从具体上，比如某一副画的某种处理手段表现出了怎样的一种音乐形态，不同画家的想法又是怎么样的。所以才会想问一开始的那几个问题，从比较浅显又具体的问题开始。

帮你翻译了一段paper
这幅作品是巴洛克在与毕加索一起合作作画几个月后的作品，使用了分析立体主义的画风。在分析立体主义画风中，空间紧密，颜色仅选用棕与灰，唯一能辨别的物体是被切割的小提琴。这幅画巴洛克还向立体主义引进了木头花纹，他是在做家居粉刷工的时候学得的这一技术。画中巴赫的名字也是巴洛克在商业作画中学来的。这幅画中，巴洛克结合了木头花纹，语言和物理抽象这三种概念。巴洛克曾接受过正统古典音乐训练。他认为，乐器可以让视觉艺术享有触摸感，他说：“乐器的特殊性在于它们能看起来鲜活，可以触摸。”巴赫的音乐作品可以被看作是分析立体主义画作中交错平面的类比。因此巴赫也是巴洛克最喜爱的作曲家。请注意，巴洛克把自己的名字签在了画作的中间，估计是想构成他自己与巴赫的对唱。

absolutely
Braque made Homage to J. S. Bach toward the end of a period of several months in which he and Pablo Picasso worked very closely together, producing paintings in a style that has become known as Analytic Cubism. In Analytic Cubism space is very compressed and shallow, colors are reduced to a palette of tans and grays, and identifiable subject matter—here, the parts of a violin—appears only in flickering moments. With this painting Braque introduced imitation wood grain to Cubism. He had learned this technique while working as a housepainter, and the Cubist practice of stenciling letters—here, BACH, J, and S—was also inspired by Braque'scommercial training. Picasso and Braque employed multiple modes of representation simultaneously: in this work, Braque combined virtuoso illusionistic wood grain with linguistic references and near abstraction.Braque was trained as a classical musician, and he thought musical instruments added a tactile dimension to the visual image: "The distinctive feature of the musical instrument as an object," he said, "is that it comes alive to the touch." Johann Sebastian Bach, whose polyphonic compositions may be seen as musical analogues to the shifting planes and multiple perspectives of Analytic Cubism, was one of Braque's favorite composers. Rare for his work of this period, Braque signed his name prominently on the paintings face, perhaps to invite the slippage of sound between the composers name and his own.

都是艺术，从艺术感受上谈，更好。。。。。。。。。。

音乐是过程性的，线性欣赏
油画可以比喻成音乐，那也应该是钢琴曲
共性都是有节奏性，韵律感，平衡感，调性
音乐有起承转合，而绘画或者油画最具表现力的动作往往是承接这个环节最有魅力
音乐模仿自然，我们形容天籁之音，而绘画也模仿自然，都通过自然来表达内心的情感
油画和音乐就像酱油和醋，也像眼睛和耳朵，两者是有关系，但关系不大，硬往一块扯成论文，显然选题不是很好

This is one of Whistler's most controversial works and was produced as 'evidence' in the famous Whistler-Ruskin trial of 1878. It is the fifth in a series of Nocturnes, produced during the 1870s. Whistler's aim in these works was to convey a sense of the beauty and tranquility of the Thames by night. It was Frederick Leyland who first used the name 'nocturne' to describe these moonlit scenes, suggesting the concept of evening, or night, but with musical associations. The expression was quickly adopted by Whistler, who later explained,
By using the word 'nocturne' I wished to indicate an artistic interest alone, divesting the picture of any outside anecdotal interest which might have been otherwise attached to it. A nocturne is an arrangement of line, form
and colour first (quoted in Dorment and MacDonald, p.122).
The central motif is Battersea Bridge, with Chelsea Church and the lights of the newly-built Albert Bridge visible in the distance. There are fireworks in the sky and one rocket ascends as another falls in sparks. Possibly inspired by Hiroshige's woodcut
Moonlight at Ryogoko of 1857, which includes a similar tall structure, Whistler intentionally exaggerated the height of the bridge. As the artist himself stated at the Ruskin trial, 'I did not intend to paint a portrait
of the bridge, but only a painting
of a moonlight scene...My whole scheme was only to bring about a certain harmony of colour' (quoted in Dorment and MacDonald, p.131).
Whistler preferred the calm of the river at night to the noise and bustle of the Thames by day. With the Greaves brothers as his oarsmen, he would set off at twilight and sometimes remain on the river all night, sketching and memorising the scene. He never painted his Nocturnes on the spot, but rather from memory in his studio, employing a special medium
devised for painting swiftly in oils. He thinned his paint with copal, turpentine and linseed oil, creating what he called a 'sauce', which he applied in thin, transparent layers, wiping it away until he was satisfied.
In 1876 Whistler exhibited the picture as Nocturne in Blue and Silver No.5, but by 1892 had given it its present title. When it appeared at the first Grosvenor Gallery exhibition in 1877 Oscar Wilde wrote that it was 'worth looking at for about as long as one looks at a real rocket, that is, for somewhat less than a quarter of a minute' (quoted in Dorment and MacDonald 1994, p.130). The painting was bought by William Graham and was later included in the Graham sale at Christie's in 1886. When it came up for auction it was hissed by the general public.



Henri Matisse (1869—1954) was known for his brilliant and expressive use of color and his bold innovations in a wide variety of media. In addition to painting and sculpture, he designed ballet sets, murals, a chapel, and a number of special-edition books. The most important of these books was Jazz, published in Paris in 1947 by Efstratios Tériade, which combined colored cutouts and a poetic essay on art in Matisse’s own photoengraved handwriting.
Matisse had first used cutout papers in 1937 to do layouts for a mural commissioned by the great American collector Dr. Albert C. Barnes. A decade later, following a cancer operation that left him unable to stand, Matisse returned to this technique as the only activity he could manage from his sickbed. His nurse and secretary, Lydia Delectorskaya, painted large sheets of paper with vibrant tempera colors, which Matisse then cut into shapes with scissors. He then directed Delectorskaya in creating compositions from these shapes by pinning them to the wall. After many rearrangements, the final composition would be pasted in place.
In order to scale these wall-sized compositions down for publication, Tériade’s printers hand-cut thin metal stencils that exactly followed the contours of Matisse’s cutouts. Inks calibrated to the exact hues of the tempera colors used in the original cutouts were painstakingly hand-brushed through the stencils, lending a freshness and directness to the prints not possible with any other technique. The decision to use Matisse’s own handwriting to present the text of the book permitted him to balance each page spread with a colorful image on one side and a formal black-and-white “drawing” on the other. The Johnson Museum’s edition of Jazz is one of only one hundred portfolio copies issued unbound and without the text, which makes it possible to re-create, on a smaller scale, the effect of Matisse’s mural compositions.
The dominant themes of the twenty works created for Jazz are the circus and the theater. It is thought that Matisse originally intended to call the book Circus, but was persuaded by Tériade to rename it. Whatever the reason for the name change, the experimental, improvisational nature of the Jazzcompositions, with their exuberant colors, swooping arabesques, and staccato rhythms, are certainly worthy of the name.