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十月景色October_1886_乔治·英尼斯油画作品欣赏。

英尼斯显然对他的画作的标题并不在意。有可能许多作品是由他的遗产执行人和他的纪念展览的组织者命名的，他的一些作品甚至是在他死后署名和注明日期的。在20世纪早期，商人们经常给他的画取他们认为更诗意的名字。

在遗嘱执行人的拍卖目录中，这幅画被命名为《米尔顿，我的画室附近》，日期是1882年。它在技法和主题上与1882年的画作(如布鲁克林博物馆(6月)非常相似，这似乎比它与1886年的大多数画作更相似。

这幅画最引人注目的特点是，它的水平和垂直元素的坚固结构以及它们之间的仔细平衡，一方面似乎更倾向于较晚的年代，因为这种合成构图的原则在这位艺术家最后十年的作品中最为强烈。另一方面，这个概念在他1882年的画作中似乎首先成为了一个支配原则。

这幅画经过深思熟虑的结构在1882年甚至1886年都得到了改进，可以被认为是按照这种明显的几何图形组织起来的最早的作品之一。它被画上一半的地平线和树间空隙的中垂线以及它在画上一半的反射光切成相等的象限。树木按一定的间隔排列，为这种平衡增添了节奏。它是值得注意的;然而，这种内在缩短了上面的大树，也许是为了避免过于接近对称的单调。

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.