在一个充满性和幻想的世界里，相爱的经典画作总是提醒我们： 爱是普遍的，不受性别或种族的约束。
艺术世界是将虚构与非虚构的爱洒满画布的圣地。人类，作为一个整体，提倡平等。以下是一些经典的爱情画作，它们跨越了社会的鸿沟，回应了一个基本观念：在表面，皮肤之下，人们对于爱的感受是相似的。
In a world of constructed sexuality and illusion, classic romantic paintings of lovers are a stark reminder of how love is universal and not bound by gender or race.
The art world is a mecca for both fictional and non-fictional lovers birthed onto vivid canvases. Humanity, as a whole, claims to promote egalitarianism. Here are romantic paintings of lovers that cross social divides and echo the fundamental notion that under the surface, under the skin, where it matters, everyone bleeds the same.
The Kiss By Gustav Klimt
The Kiss by Gustav Klimt,
1907-08, via Belvedere Gallery, Vienna
《吻》，古斯塔夫·克里姆特，1907-08年，维也纳美景宫
古斯塔夫·克里姆特的《吻》是人类柔情和欲望的原型。它代表了激情、欲望以及这种欲望如何吞噬恋人——大多数人都能与之产生共鸣。
这幅画诞生于克里姆特的“黄金时期”，以闪闪发光的金色色调、风格化的笔触和极具浪漫的视觉寓言著称，灵感来自拜占庭的马赛克。值得注意的是，引人注目的主色调主要来源于金箔。
主题是一对夫妇亲密地拥抱在一起，他们跪在野花上，身体被一件庄严的长袍包裹着。这种包裹方式让人联想到情侣在圆满时的床单，象征着他们强烈的欲望和永恒的爱。女人脸上的表情透露了她在爱人怀里享受着被亲吻的喜悦。
跨越社会鸿沟： 它表明，一旦个人被激情所吞噬，他们在精神上就不受这个世界及其局限性的约束。他们与宇宙融为一体，而宇宙接受所有的存在，无论它们基因如何。
有趣的真相： 在它被画出来的时候，《吻》被后维多利亚时代的社会视为色情图片。
The Kiss by Gustav Klimt is the archetype of human tenderness and desire. It represents passionate eroticism and how such eroticism consumes lovers—something most people can connect with.
The painting, born of Klimt’s “Golden Period,” features glittering gold tones, stylized strokes, and highly romantic visual allegory inspired by Byzantine mosaics. Notably, the eye-catching chief color includes detailing of gold leaf for effect.
The portraiture’s subjects are a couple sharing an intimate embrace, their bodies partially concealed by a majestic robe, as they kneel on wildflowers. The way the garment cocoons them is reminiscent of a bedsheet shared by lovers during and after consummation, symbolic of their heightened desire and eternal love. The expression on the woman’s face reveals her delight over being in her lover’s arms and receiving his kiss.
How this painting crosses social divides: It illustrates that once individuals are consumed by passion, they are spiritually unbound to this world and its limitations. They become one with the cosmos, which accepts all beings, regardless of genetics.
Interesting Fact: At the time it was painted, The Kiss was viewed as pornographic material by post-Victorian society.
We Rose Up Slowly By Roy Lichtenstein
We Rose Up Slowly by Roy Lichtenstein,
1964, via Museum für Moderne Kunst, Frankfurt
《我们慢慢起来》，罗伊·利希滕斯坦，
1964年，法兰克福现代艺术博物馆
帅气的美国英雄遇到漂亮的金发女主角。他们的“爱”如此深刻，以至于外面的世界已经不复存在。他们甚至不需要呼吸，因为他们此刻在享受一个水下蒸汽拥抱…的确，这是一个浪漫极吸引人概念。然而，罗伊·利希滕斯坦实际上是在嘲笑爱情的肤浅。整个图像是虚假和扭曲的，它代表了一种“完美的爱”的幻觉。他把这幅画设计得像广告，绝非偶然，而是旨在揭露人们如何以商业形式“购买”这种幻想的现实——而不去真正思考他们到底买的是什么。
跨越社会鸿沟： 它打破了美国人的刻板印象：爱情仅属于白人、魅力美人。同时，它也反映了一个工业化国家仍不断地“购买”幻想。
有趣的真相： 对于画面构成，利希滕斯坦在文本和图像之间使用了分割构图。这是为了融合两个角色之间的叙事。
All-American handsome hero meets pretty blonde *erhinoe**. Their “love” is so profound that the outside world has ceased to exist, and they do not even need air to breathe as they share a steamy underwater embrace . . . Indeed, it is a romantic notion and an appealing one. However, Roy Lichtenstein is actually mocking the superficiality of love here. The whole image is false and warped as it represents an illusion of “perfect love.” It is no accident that he designed it to look like an advertisement, making the painting serve a much deeper purpose: to expose the reality of how people “buy in” to such illusions in commercial form—and without really thinking about what it is exactly they are procuring.
How this painting crosses social divides: It blows the lid on love being limited to white, attractive, all-American stereotypes. By contrast, it reflects an industrialized nation that should know better, and yet still constantly “buys” a fantasy.
Interesting Fact: For this canvas, Lichtenstein used a split panel composition between text and image. This was to blend the narrative between the two characters.
The Lovers II By René Magritte
The Lovers II by René Magritte,
1938, via MoMA, New York
《情人II》，雷内·马格利特，1938年，纽约现代艺术博物馆
《情人2》这部作品和《我们慢慢起来》一样，揭露了爱情的另一面。一方面，这是一幅恋人近距离接吻的浪漫画作。然而，挥之不去的是画面里近乎悲伤的情绪。马格利特以其“受挫的欲望”主题闻名，也许包裹的面纱可以理解为：阻碍情侣全身心地亲吻。他们被孤立起来，因此感到沮丧。也有更为悲观的解释，这是否反映了一种拒绝，一种对爱的否定? 代表了整个关系，由于缺乏沟通等各种问题而破裂?
跨越社会鸿沟： 艺术家可能在这幅画中揭示，无论一个人与伴侣多么亲密，他们都永远不会知道对方的真实本性，就像这块布所代表的屏障。常言道:“每个人都是一座孤岛。”这种创造性的手段利用了人们经常隐藏自己的现实——他们戴上面具，只让别人看到他们表面的东西，而不是他们性格中更深层次的东西。
The Lovers II is a work that, like We Rose Up Slowly, exposes the reality of love when it does not go as expected. On the one hand, it is a romantic painting of lovers sharing a close-up kiss. Yet, on the other hand, it’s a sad, almost haunting image. René Magritte was known for his themes of frustrated desires, so perhaps the veils wrapped around the subjects’ heads could be interpreted as such. They hinder the couple from engaging in a full kiss; instead, they are isolated and thus frustrated.
However, other interpretations are darker. Could this reflect a rejection, a denial of love? Does it represent relationships as a whole, and how they are often broken due to various issues, including a lack of communication?
How this painting crosses social divides: Stemming from the above interpretations, the artist might also be revealing in this image how no matter how close one might get to their partner, they will never know their true nature, which is represented by the barriers of cloth. For, as the saying goes, “Every man is an island.” Such a creative device plays on the reality that people often conceal themselves—they put on masks, only allowing others to see what is on the surface and not what lies deeper in their characters.
The Lovers by Akseli Gallen Kallela, 1906-1917, via the Art Renewal Center, Port Reading
有趣的真相： 马格利特14岁时，他的母亲溺水自杀。他目睹了她的尸体从水中被打捞上来，她的睡衣裹着她的脸。有人认为，艺术家常用的蒙面主题图案，来自于这种创伤。然而，马格利特否认了这一点，他说:“我的画是没有隐藏任何东西的可见图像。的确，当人们看到我的作品时，会问自己:“这意味着什么?”“这没有任何意义，因为神秘也没有任何意义。这是不可知的。”
Interesting Fact: When Magritte was fourteen, his mother committed suicide via drowning. He witnessed her body being retrieved from the water, with her nightgown wrapped around her face. It has been suggested that the artist’s common motif of enshrouded faces was born from this trauma. However, Magritte later denied this by stating, “My painting is visible images which conceal nothing. They evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question: ‘What does it mean?’ It does not mean anything, because mystery means nothing either. It is unknowable.”
Lovers in the Snow By Suzuki Harunobu
Lovers in the Snow (Crown and Heron) by Suzuki Harunobu, 1764-72, via The Metropolitan Museum of Art, New York
《雪中的恋人》，铃木春信，
1764-72年，纽约大都会艺术博物馆
在所有恋人主题的浮世绘作品中，这幅画创造了最浪漫和忧郁的情绪。一对日本夫妇摆着“ai ai gasa”的姿势在雪地里散步，“ai ai gasa”的意思是“共用一把伞”或“相爱的伞”。雨伞本身可以理解为给场景增添了额外的亲密感。这就好像观众几乎打断了恋人的散步。事实上，他们的表情庄严，近乎悲伤，暗示着潜在的失去和悲痛。诗人野口曾这样评价这幅画:“如果没有它，那我们的浮世绘究竟是一种怎样的孤独和凄凉呢?”
跨越社会鸿沟： 《雪中恋人》的宁静体现了日本的侘寂美学，即欣赏自然的不完美之美。这对情侣代表着年轻的爱情，就像《吻》和《我们慢慢站起来》中的角色一样，他们利用了自己想要独处、不受外界束缚的渴望，证明了无论一个人的血统如何，每个人都有相似的浪漫爱情经历。
有趣的真相： 考虑到这幅画面中透露的忧郁感，有人认为他们正走上“michiyuki”，一条通往殉情的道路。
Of all ukiyo-e prints of lovers, this one creates the most romantic and melancholic mood. A Japanese couple is strolling through snowfall in ai ai gasa pose, which means “to share an umbrella” or “love-love umbrella.” The umbrella itself can be interpreted as giving the scene extra intimacy. It is as if the viewer is almost interrupting the lovers’ walk. The fact that their expressions are solemn, almost sad, infers a potential loss or grief. The poet Noguchi even commented about the canvas: “If young Harunobu’s ‘Lovers Sharing an Umbrella’ did not exist, I would only wonder, what kind of lonely and desolate thing is this ukiyo-e of ours?”
How this painting crosses social divides: The tranquility of Lovers in the Snow embodies the Japanese aesthetic of wabi-sabi, which appreciates nature’s imperfect beauty. The couple represents young love, and like the characters in The Kiss and We Rose Up Slowly, they take advantage of their desire to be alone, untethered to the outside world, proving that, no matter one’s ancestry, everyone shares a similar experience of romantic love.
Interesting Fact: Given the melancholic feel to this painting of lovers, it has been suggested that they are walking a michiyuki, a path to a love suicide.
The Jewish Bride By Rembrandt Van Rijn
The Jewish Bride by Rembrandt van Rijn,
1665-69, Rijksmuseum, Amsterdam
《犹太新娘》，伦勃朗·范·莱因，
1665-69年，阿姆斯特丹国家博物馆
这幅画出名于19世纪初，是因为一位艺术收藏家说，这是一位犹太父亲在女儿结婚那天给她项链时的肖像。然而，这一说法后来被反驳了。最普遍的共识说，他们是《旧约》中的以撒和利百加。
这幅油画展示了这对夫妇之间的爱，这是巴洛克时代荷兰现实主义艺术家罕见的风格。男人的左手以深情的姿态抚摸着女人的肩膀，而他的右手同样放在她的胸前。这种轻微的身体接触意味着无辜的爱而不是欲望。但他们的举止似乎也暗示着更深层次的东西。男人的眼睛透露出不确定，而女人的目光像是在沉思。他们也没有看着对方，这是否暗示了他们对未来的怀疑?
跨越社会鸿沟: 像其他画作一样，《犹太新娘》可以被解读为精神和肉体爱的融合。虽然，它也允许一些虚假，因为它是圣经中犹太新娘和新郎的不真实形象。但它却是超越基督教社会经验的文化仪式的一种美化、浪漫化的写照。
此外，由于伦勃朗与英国现代犹太社区的创始人拉比玛拿西·本·以色列是朋友，有人认为这位艺术家梦想着两个宗教之间的和解。因此，《犹太新娘》可能代表了这种愿望。
有趣的真相： 文森特·梵高被这幅画深深吸引，感动得流下了眼泪。他声称愿意放弃十年的生命，只是为了坐下来欣赏两个星期，只吃不新鲜的面包。
This painting got its name in the early nineteenth century after an art collector assuaged that it was a portrait of a Jewish father giving his daughter a necklace on her wedding day. However, this was later refuted, and the most popular consensus is that they are Isaac and Rebekah from the Old Testament.
The canvas shows an expression of love between the couple—a style rare for Dutch Realist artists during the Baroque era. The man has his left hand touching the woman’s shoulder in an affectionate gesture, while his right hand is similarly placed on her breast. This light physical contact indicates innocent love rather than lust. In contrast, the subjects’ miens hint at something deeper. The man’s eyes denote uncertainty, while the woman’s gaze implies contemplation. They are also not looking at each other. Could this hint doubt over their future?
How this painting crosses social divides: Like other paintings, The Jewish Bride can be interpreted as fusing spiritual and physical love. However, it also allows some falsehood as it’s an inauthentic image of a Jewish bride and bridegroom from the Bible. Instead, it’s an embellished romanticized portrayal of a cultural rite beyond a principally Christian society’s experience.
Furthermore, as Rembrandt was friends with Rabbi Manasseh Ben Israel, the founder of the Modern Jewish community in England, it’s been suggested that the artist dreamt of reconciliation between the two religions. Thus, The Jewish Bride may represent this desire.
Interesting Fact: Vincent van Gogh was so overwhelmed by the painting that it brought him to tears. He claimed that he would give up ten years of his life just to sit and admire it for two weeks while eating nothing but stale bread.
Romance By Thomas Hart Benton
Romance by Thomas Hart Benton,
1931-32, via Blanton Museum of Art, Austin
《浪漫》，托马斯·哈特·本顿，
1931-32年，奥斯汀布兰顿艺术博物馆
这幅画描绘的是一对年轻、衣冠楚楚的黑人夫妇晚上在家附近闲庭信步。艺术家托马斯·哈特·本顿(Thomas Hart Benton)是一位画家、壁画家和爱国主义者，以描绘美国腹地，即南部、中西部和西部各州的乡村主题场景而闻名。他意在描绘第一次世界大战后人们的辛勤工作、自主性和个体的幸福感。
跨越社会鸿沟： 本顿用他的艺术推动了社会和政治改革。在这里，人们被描绘成满足于日常生活。他们走路的姿势，手牵着手，双脚几乎离地——这是任何处于浪漫关系中的人都能体会到的爱意。（俗称：恋爱的酸臭味❣️）️
This painting shows a young, well-dressed black couple casually going for an evening stroll on a homestead. The artist, Thomas Hart Benton, was a painter, muralist, and patriot known for his country-themed scenes, which depict the American heartland, namely in the Southern, Midwestern, and Western states. His goal was to portray the hard work, autonomy, and overall satisfaction of individuals post-World War I.
How this painting crosses social divides: Benton used his art to generate social and political reform. Here, the subjects are portrayed as being content with their daily life. They carry a poignant style of walk, holding hands as their feet almost lift off the ground—a love-like disposition that anyone in a romantic relationship can relate with.
In Bed, The Kiss By Henri De Toulouse-Lautrec
In Bed, The Kiss by Henri de Toulouse-Lautrec,
1892, Private Collection
《床上之吻》，亨利·德·图卢兹-罗特列克，
1892年，私人收藏
这幅画的主体是女性，艺术家见证了她们的深情拥抱。亨利·德·图卢兹-罗特列克从现实生活中取材，他对1990年代的巴黎夜生活非常着迷。他会去*院妓**，画出他观察到的日常场景。大多数地方床位有限，所以女性共享床位——这通常会导致浪漫关系的发展。
跨越社会鸿沟： 它描绘了社会规范之外的爱情。这两个女人紧紧地依偎，纠缠在一起，好像她们害怕被分开一样——这是否反映了那个时代女同性恋是如何被社会所回避的? 出于人性和敏感，罗特列克试图捕捉他所遇到的女*生活性**中微小而温柔的时刻。在一个建构性和幻想的世界里，他发现了真实的关系，并向我们揭示了19世纪酷儿女性的隐秘生活。
The subjects of this painting are female, with the artist bearing witness to their adoring embrace in bed—one that most viewers would be familiar with. Unsurprisingly, Henri de Toulouse-Lautrec drew this from real life. He had a great fascination with the 1890’s Paris nightlife, including its prostitutes. He would visit brothels and paint the everyday scenes he observed in them. Most had limited beds, so women shared—which often led to blossoming romantic relationships.
How this painting crosses social divides: It depicts love outside previously accepted social norms. The two women cling to each other, intertwined as if they are afraid of being separated—could this be a reflection of the time and how lesbians were shunned by society? Lautrec was trying to capture small, tender moments in the lives of the women he met, and he did so with humanity and sensitivity. In a world of constructed sexuality and fantasy, he found the real relationships and revealed to us the hidden lives of queer women in the nineteenth century.
Idyll By George Quaintance
Idyllby George Quaintance, 1952
《田园牧歌》，乔治·昆泰，1952年
昆泰提供了一个他理想化的世界——粗犷、肌肉发达、裸体的男性牛仔、印第安人和神话人物的形象。他的艺术作品为“男子汉”的刻板印象奠定了基础，他不是直男，而是同性恋，这将昆泰标定为同性恋美学的先驱。
跨越社会鸿沟： 昆泰的艺术存在于同性恋仍然被社会压抑和回避的时代。这远远早于同性恋权利运动、性革命和艾滋病危机。虽然他被认定认为是“不入流”，但如今，他的画作由于受到私人收藏家的欢迎，很少出现在拍卖会上。
Quaintance offering the world idealized—in his opinion—images of rugged, muscled, and nude male cowboys, Indians, and figures of classical antiquity and myth. His artwork enabled the foundation of the “macho stud” stereotype, who was not straight but homosexual, which positively labeled Quaintance as a pioneer of gay aesthetic.
How this painting crosses social divides: Quaintance’s art existed in a time when homosexuality was still repressed and shunned by society. This was long before the gay rights movement, the Stonewall riots, the sexual revolution, and the AIDS crisis. Although he was confined to what was considered a “shady” underworld, today, his canvases rarely come up for auction due to their popularity with private collectors.
#遇见艺术##艺术##恋爱##婚姻里的残酷真相##情人节#
引用来源/References：
[1]“10 Romantic Paintings of Lovers That Cross Social Divides.” TheCollector, 10 Feb. 2022, https://www.thecollector.com/romantic-paintings-of-lovers/.
出品：杨丽
视觉&审校：蒋懿嘉
编辑&排版：陈媛媛
