宏观的艺术史叙事往往将乔治·鲁奥视为一位宗教画家,忽略了其在20世纪初的绘画状态与成就。鲁奥的绘画题材绝非局限在宗教范畴,相反,相对于其同代的先锋派画家,他在绘画形式语言的革新之外,有着更加广泛的现实人文关照。法庭场景是他常常涉足的题材,鲁奥通过对法官、犯人等法庭要素的刻画,表达出自己对制度与正义的理解,同时也反映出他糅杂在内的深刻宗教情怀。 Macro-art narratives often treat George Rouro as a religious painter, ignoring his state of painting and achievements in the early 20th century. On the contrary, compared with his avant-garde avant-garde painters, he has more extensive and realistic humanistic consideration than the reform of the formal language of painting. Court scene is often the subject of his involvement, and through the portrayal of court elements such as judges and prisoners, Luau expresses his understanding of system and justice and at the same time, it reflects his profound religious feelings.