|
“他們正在侮辱我,！” 馬奈對(duì)他的朋友查爾斯·波德萊爾的抱怨中指出了他的畫作壓倒性的負(fù)面反應(yīng)?！秺W林匹亞》（Olympia，1865）受到評(píng)論家波德萊爾的好評(píng),，作為一名藝術(shù)評(píng)論家,，他曾倡導(dǎo)一種能夠捕捉現(xiàn)代生活 “步態(tài)、眼神和手勢(shì) ” 的藝術(shù),，盡管馬奈的畫作可能做到了這一點(diǎn),，但它在沙龍的首次亮相只會(huì)讓巴黎公眾感到困惑和丑聞。 Long tradition of the female nude,，represented in the most erotic,，sensuous way，clothed by mythology or clothed by sheer beauty. 悠久的女性人體傳統(tǒng),，代表著以最色情,，最感性的方式，以神話或純粹的美為外衣,。 It's a tradition that goes back to the
ancient Greeks and Romans,，in sculptures，e.g. of thddesgoe s Venus,，modestly covering
her body after her bath,，and Manet,，in this painting that we're looking at here at the Musee d'Orsay，is clearly drawing on those traditions,，but
doing something radically modern. the immediate model for Manet was Titian's
Venus of Urbino,，except he stripping away the academic
technique of the representation of space，of the turn of
the body,，but he's also stripping away that veil of
mythology. so by academic art,，we were talking about the
kind of art that was sanctioned by the official academy，that was associated with thvernmentgoe of France. it's a challenge,，particularly it satisfied for one because it had the stamp of the
official state. 這一傳統(tǒng)個(gè)可以追溯到古希臘和古羅馬的傳統(tǒng)雕塑中,，例如女神維納斯，在沐浴后謙虛地遮住她的身體,，而馬奈,，在我們?cè)趭W賽博物館看到的這幅畫中，顯然是在借鑒這些傳統(tǒng),，但做了一些激進(jìn)的現(xiàn)代手法,。馬奈的直接原型是提香的《烏爾比諾的維納斯》，除了他剝?nèi)チ丝臻g表現(xiàn)的學(xué)術(shù)技巧,，剝?nèi)チ松眢w的旋轉(zhuǎn),，但他也剝?nèi)チ松裨挼拿婕啞Ｒ虼?，在學(xué)術(shù)藝術(shù)方面,，我們談?wù)摰氖桥c法國(guó)政府有關(guān)的官方學(xué)院批準(zhǔn)的那種藝術(shù)。這是一個(gè)挑戰(zhàn),，尤其是它讓人滿意,，因?yàn)樗泄俜絿?guó)家的印記。
These were the leading artists of the time.
they were saying，this art is of quality. and so of
course,，it had a ready market value. but at the same
time,，it was art that was formulaic，that was expected. Well,，there was an idea
that there was a definition of great art,，and there was
no point in looking for what was new or different,，because
what great art was self evident. Great art was based on the classical and the
Renaissance. and what someone like Manet is doing is challenging those very
established ideas，ideas that seemed as natural as the
sun coming up in the morning. 這些都是當(dāng)時(shí)的主要藝術(shù)家,。他們說,，這種藝術(shù)是有質(zhì)量的。當(dāng)然,，它有現(xiàn)成的市場(chǎng)價(jià)值,。但與此同時(shí)，藝術(shù)是公式化的,，是被期待的,。有一種觀點(diǎn)認(rèn)為，偉大的藝術(shù)是有定義的,，尋找什么是新的或不同的是沒有意義的,，因?yàn)閭ゴ蟮乃囆g(shù)不言自明。偉大的藝術(shù)是建立在古典和文藝復(fù)興的基礎(chǔ)上的,。像馬奈這樣的人,，所做的是挑戰(zhàn)那些非常既定的觀念，那些看起來像太陽在早晨升起一樣自然的觀念,。 She is not a Venus. Her name is Olympia,，and she looks very much like a real woman in a real apartment in
Paris. so how do you know she looks like a real woman，as
opposed to a Venus? her features are not idealized. They are not perfected. when
we look at ancient Greek sculpture or Renaissance paintings of the nude,，we have a woman who is perfectly beautiful. and you can see her face
as a symmetrical,，and her lips are a little bit too
thin. she doesn't have that perfection. In addition，the
representations of the academic artists always show Venus or other nudes in a
Koi way. 她不是維納斯,，她的名字叫奧林匹亞,，她看起來非常像一個(gè)住在巴黎真實(shí)公寓里的真實(shí)女人。那么你怎么知道她看起來像一個(gè)真正的女人,，而不是維納斯呢？她的容貌沒有被理想化,，他們并不完美,。當(dāng)我們看到古希臘雕塑或文藝復(fù)興時(shí)期的裸體繪畫時(shí)，我們看到的是一個(gè)完美的女人,。你可以看到她的臉是不對(duì)稱的,，她的嘴唇有點(diǎn)太薄了。她沒有那種完美,，此外,，學(xué)院派藝術(shù)家的作品總是以錦鯉的方式表現(xiàn)維納斯或其他裸體人物。
This woman is looking directly at us. She
is sentient,，she is thinking,，and
she is confronting us even as we look at her. and so there was a real problem
for the viewers of this painting. There is no way to look at her and pretend
that it was about beauty. One was confronted by her sexuality. this woman was
recognized as a cortisan，that is,，as a kind of prostitute. The name Olympia was common for prostitutes
at that time in Paris. and what we're seeing here is Olympia servant handing
her flowers that presumably have just come from one of her customers. but look
at the way that Olympia is looking out towards us. we must have as the customer
walked into the room and startled the cat at the foot of the bed,，as well as the two figures. when we use the word prostitute，we think of a figure of much lower class. And here we have a woman
whose higher class prostitute. 這個(gè)女人正直直地看著我們,。她是有知覺的,，她在思考，即使我們看著她,，她也在面對(duì)我們,。所以這幅畫的觀眾有一個(gè)真正的問題。沒有辦法看著她,，假裝這是關(guān)于美的,。一個(gè)人面對(duì)她的性取向。這個(gè)女人被認(rèn)為是“庫(kù)爾特贊”,，也就是一種妓女,。奧林匹亞這個(gè)名字在當(dāng)時(shí)的巴黎妓女中很常見。我們?cè)谶@里看到的是奧林匹亞的仆人遞給她的花,，應(yīng)該是她的一個(gè)顧客送的,。但看看奧林匹亞是如何看著我們的。我們一定有當(dāng)顧客走進(jìn)房間時(shí)嚇到床腳的貓,，還有那兩個(gè)人影,。當(dāng)我們使用妓女這個(gè)詞時(shí)，我們想到的是一個(gè)更低階層的人物,。而這個(gè)女人她是高級(jí)妓女,。 Important New scholarship has helped us to
better understand one of the two primary figures In this painting，new scholarship by édouard Manet helps us see that this is part of
his attempt to capture modern life in Paris. 重要的新學(xué)術(shù)幫助我們更好地理解兩個(gè)主要人物之一,，在這幅畫中,，愛德華·馬奈的新學(xué)術(shù)幫助我們看到，這是他試圖捕捉巴黎現(xiàn)代生活的一部分,。 And modern life in Paris was decidedly
diverse. the Manet's research opens up this painting. it tells us that this is
a painting that is not just a repris of the Venus intitions of Venus of Urbino,，but it expresses maternity in its inclusion of a black woman，a woman who had posed for him for a gorgeous portrait. and even
before that,，on the side of a painting of children in
the Twerit Gardens,，there was a small black community in
the northern part of Paris. but after 1848，when
territorial slavery was finally outlawed in France,，that
population grew. and Laur lived only 20 min away from Manet and close to many of the other painters
and prominent artists of the time. 巴黎的現(xiàn)代生活顯然是多樣化的,。馬奈的這幅畫開啟了這項(xiàng)研究。它告訴我們，這幅畫不僅僅是對(duì)《烏爾比諾的維納斯》的意圖的重復(fù),，它還表達(dá)了母性,，包括一個(gè)黑人婦女，一個(gè)女人為他擺姿勢(shì),，為他畫了一幅華麗的肖像,。甚至在那之前，在特維特花園的一幅兒童畫的旁邊,，在巴黎北部有一個(gè)小的黑人社區(qū),。但在1848年，法國(guó)終于宣布領(lǐng)土奴隸制為非法之后,，這一人口有所增長(zhǎng),。勞拉住的地方距離馬奈只有20分鐘的路程，與當(dāng)時(shí)許多其他畫家和杰出藝術(shù)家都很近,。 And look at the way that Manet paints lure
in relationship to Olympia. olympia is almost like a sculpture,，whereas lure seems to be momentary，seems to
be a part of the modern world seems to be in motion. 看看馬奈描繪誘惑與奧林匹亞的關(guān)系的方式,。奧林匹亞幾乎就像一個(gè)雕塑,，而誘惑似乎是瞬間的，似乎是現(xiàn)代世界的一部分,，似乎正在發(fā)生轉(zhuǎn)移,。
We do not know Laur's last name. we think
that she was likely from the Caribbean or from Africa. but Laur is mostly lost
to history. and importantly,，the scholarship notes that Manet
has dressed her in modern clothing,，but with a reference
still to the Caribbean，and that can be seen in her head
wrap. most images at this time of black figures were either exoticized,，romanticized,，or their ethnographic. in other
words，they are an attempt to capture a certain type. but
Manet seems more interested in presenting law as a modern black woman. 我們不知道羅拉姓什么,。我們認(rèn)為她可能來自加勒比?；蚍侵蕖５珓诶蟛糠謺r(shí)間都消失在了歷史中,。重要的是,，該學(xué)術(shù)研究指出，馬奈讓她穿上了現(xiàn)代服裝,，但仍然參考了加勒比地區(qū)，這可以從她的頭巾上看出來,。在這個(gè)時(shí)期,，大多數(shù)黑人形象要么被異國(guó)情調(diào)化，要么被浪漫化，要么被民族志化,。換句話說,，他們是為了捕捉某種類型的人。但馬奈似乎更感興趣的是將法律作為一個(gè)現(xiàn)代黑人女性來呈現(xiàn),。 In Paris,，the
reaction of the press was pretty vicious. the press said Olympia looked like a
cadaver Manet outlined her in lack and hardly modeled her flesh. some of the
characters that were made of this emphasized the shadow on her hands and feet，and some of the press actually spoke of her hands being filthy. and
its interesting that those are the only areas where theres significant
modeling. where one would expect to see modeling on the female nude would be in
the abdomen,，around the breasts. And here,，many kept that really flat. The areas that we do see shadow are
unexpected，so that press interpreted our hand as
drawing attention to her sexuality,，even though news for
centuries had shown women with their hand placed across their genitals. 在巴黎,，媒體的反應(yīng)相當(dāng)惡毒。媒體說《奧林匹亞》看起來像一具尸體,，馬奈勾勒出了她有缺陷的輪廓,，幾乎沒有塑造她的肉體。其中一些人物強(qiáng)調(diào)了她手腳上的陰影,，而一些媒體甚至說她的手很臟,。有趣的是，這些是唯一有重要意義的造型領(lǐng)域,。人們期望在哪里看到模特的位置是裸體女性的腹部,，乳房周圍，而在這里,，很多人都保持不變,，我們能看到的區(qū)域陰影是看不到的，所以媒體將畫中的手解釋為吸引人們對(duì)她性取向的注意,，盡管幾個(gè)世紀(jì)以來的解說都是女性把手放在生殖器上,。 You mention the kind of flatness of her
body，and some art historians even said she's a bit of a
paper cut out Dane. even so much of his work really does reject the clear
articulation of represented space,，and confronts the
viewer with the complexity of painting on a two dimensional surface.and an area
where you can really see that. or,，for instance，in the way the toes peak out from under her slipper,，there is this awkwardness that reminds us that all of this is
illusion,，and that，in fact,，there is just this two dimensionality of this canvas. 你提到了她身體的平坦,，一些藝術(shù)史學(xué)家甚至說她有點(diǎn)像紙剪出來的丹麥人。即使如此,，他的許多作品確實(shí)拒絕了所代表空間的清晰表達(dá),，并讓觀眾面對(duì)二維平面上繪畫的復(fù)雜性,，這是一個(gè)你能真正看到的地方?；蛘?，舉個(gè)例子，在她的腳趾從拖鞋下伸出的方式中,，有一種尷尬,，提醒我們所有的這一切都是幻覺，而且,，事實(shí)上,，這幅畫布只有這種二維平面。
Many is saying,，I'm
not going to pretend that my painting isn't paint. I'm not going to present you
with this perfect illusion，the way that academic
artists are doing,，where you don't even see a brush
stroke. so he's insisting on unmasking that illusion,，and
then he's insisting on unmasking the illusion of our own interests. 很多人說，我不會(huì)假裝我的畫不是顏料畫的,，我不會(huì)向你們展示這種完美的錯(cuò)覺 就像那些學(xué)院派藝術(shù)家所做的那樣,，在那里你甚至看不到一個(gè)筆觸。所以他堅(jiān)持要揭開這個(gè)假象,，然后他堅(jiān)持要揭開我們自身利益的假象,。 In looking at these images，he's reminding us that our interest here is a sexual one,，right? in so many traditional representations of the nude,，because the figure is not looking out at us，we
can comfortably look at her,，but here we're confronted
by her gaze and by her thinking. and there is a much more problematic
experience here,，and that's in the fact that she's a
real woman，she's contemporary,，and
the way she picks her head up,，the way she looks out at
us，the angularity of her body. and people at the time
in 1865 recognized it. so this is a painting that is about art making,，and about the kinds of conventions that exist in art,，and making us，the viewer,，aware of those conventions. 在看這些繪畫的時(shí)候,，他在提醒我們，我們的興趣是性的,，對(duì)嗎,？在很多裸體的傳統(tǒng)表現(xiàn)中,，因?yàn)槿宋餂]有看著我們，我們可以舒服地看著她,，但在這里，我們面對(duì)的是她的凝視和她的思考,。這里有一個(gè)更有問題的體驗(yàn),，那就是事實(shí)上她是一個(gè)真正的女人，她是當(dāng)代的,，她抬起頭的方式,，她看著我們的方式，她身體的棱角分明,。當(dāng)時(shí)的人們?cè)?865年就認(rèn)出了她,。所以這是一幅關(guān)于藝術(shù)創(chuàng)作的畫，關(guān)于藝術(shù)中存在的各種慣例,，并讓我們,，觀眾意識(shí)到這些慣例。 Even as we look at this painting,，many are saying,，let's be honest about the
materials，let's be honest about the subject and our own
motives and desires. the great poet and Arctic Charles Baudelaire called on
artists to paint the beauty of modern life. and I think Manet is taking up that
call. Manet is inventing what beauty could be for the modern world. 甚至當(dāng)我們看這幅畫的時(shí)候,，很多人都在說,，讓我們對(duì)材料誠(chéng)實(shí)，讓我們對(duì)主題和我們自己的動(dòng)機(jī)和欲望誠(chéng)實(shí),。偉大的詩人,、北極人查爾斯·波德萊爾呼吁藝術(shù)家們描繪現(xiàn)代生活之美。我認(rèn)為馬奈正在接受這個(gè)召喚,。馬奈正在創(chuàng)造現(xiàn)代世界的美,。
愛德華·馬奈（édouard Manet，1832-1883）是一位彌合現(xiàn)實(shí)主義和印象派之間差距的藝術(shù)家,。在他的時(shí)間里,，馬奈認(rèn)為自己是一個(gè)現(xiàn)實(shí)主義藝術(shù)家，他將他的作品歸類為真誠(chéng)的,。然而,，他激進(jìn)的繪畫風(fēng)格和現(xiàn)代題材極大地影響了印象派的作品，這使他被視為印象派之父,。是19世紀(jì)印象主義的奠基人之一,。 他從未參加過印象派的展覽，但他深具革新精神的藝術(shù)創(chuàng)作態(tài)度,，卻深深影響了莫奈,、雷諾阿,、塞尚、梵高等新興畫家,，進(jìn)而將繪畫帶入現(xiàn)代主義的道路上,。受到日本浮世繪及西班牙畫風(fēng)的影響，馬奈大膽采用鮮明色彩,，舍棄傳統(tǒng)繪畫的中間色調(diào),，將繪畫從追求三元次立體空間的傳統(tǒng)束縛中解放出來，朝二元次的平面創(chuàng)作邁出革命性的一大步,。 欲知更多藝術(shù)故事,，關(guān)注公眾號(hào) art aficionado畫迷 和 視頻號(hào) art 畫迷 |
|
|
