行业英语 学英语,练听力,上听力课堂! 注册 登录
> 行业英语 > 旅游英语 > 旅游英语大全 >  内容

旅行的艺术:艺术 Ⅶ 令人眼界大开的艺术-3

所属教程:旅游英语大全

浏览:

2020年09月11日

手机版
扫描二维码方便学习和分享

3

3

然而,幸好,凡·高在艺术上有着勃勃雄心,他不相信先前的艺术家已经捕捉到了法国南部的所有风光。在他看来,许多艺术家的作品遗漏了事物的精华。“贤明的主啊,我已经看过一些画家的作品,他们根本没有真正画出这些事物,”他欢呼道,“在这里我还有充足的发挥空间。”

Nevertheless, and fortunately for his artistic ambitions, Van Gogh did not believe that previous artists had captured everything there was to see in southern France. Many had in his view completely missed the essentials. 'Good Lord, I have seen things by certain painters which did not do justice to the subject at all,' he exclaimed. 'There is plenty for me to work on here.'

举个例子,没有人曾经捕捉过阿尔勒镇上中年中产阶级妇女独特的形象。“这里有一些妇女像弗拉戈纳尔 [11] 或是雷诺阿 [12] 画中的人物。但是,这里还有一些女人是此前在绘画中从未被赋予某种标记的 (斜体为德波顿所标)。”他还发现自己在阿尔勒镇外看到的在田间劳作的农夫也被艺术家忽略了:“米勒重新唤起了我们的思考,使我们能够看到大自然中的居民。但是,直到现在仍然没有人画出真正的法国南方人。”“我们现在已经基本知道如何去看待农夫了吗?不,几乎没有人知道如何将他们表现出来。”

No one had, for example, captured the distinctive appearance of the middle-aged, middle-class women of Arles: 'There are some women like a Fragonard and like a Renoir. But there are some that can't be labelled with anything that's ever been done yet in painting [my italics].' The farm labourers he saw working in the fields outside Arles had also been ignored by artists: 'Millet has reawakened our thoughts so that we can see the dweller in nature. But until now no one has painted the real Southern French man for us.' 'Have we in general learned to see the peasant now? No , hardly anyone knows how to pull one off.'

在凡·高于1888年踏上普罗旺斯之前,百年来一直有画家把这个地方的景色搬上画布。普罗旺斯比较知名的艺术家有弗拉戈纳尔、康斯坦丁、毕道尔和艾吉耶 [13] 。他们全部都是现实主义画家,他们都信奉一个经典的,而且较少引起争议的观点,即他们的任务就是在画布上展现一个视觉世界的精确版本。他们走进普罗旺斯的田野、山川,画出了栩栩如生的柏树、林子、青草、麦子、云朵和公牛。

The Provence that greeted Van Gogh in 1888 had been the subject of painting for over 100 years. Among the betterknown Provençal artists were Fragonard (1732-1806), Constantin (1756-1844), Bidauld (1758-1846), Granet (1775-1849) and Aiguier (1814-1865). All were realistic painters, adhering to the classical and, until then, relatively undisputed notion that their task was to render on canvas an accurate version of the visual world. They went out into the fields and mountains of Provence and painted recognizable versions of cypresses, trees, grass, wheat, clouds and bulls.

然而凡·高却坚持认为,他们中的大部分并没有画出这些景物的神髓,对普罗旺斯的描绘不够真切。我们倾向于将那些充分表达出周遭世界核心要素的图画称为现实主义的作品。但是世界是如此复杂,并足以使两幅描绘同一个地方的现实主义作品因艺术家风格和气质的不同,而呈现出完全不同的景象。两个现实主义画家有可能坐在同一片橄榄林的一端,创作出迥异的素描。每一幅现实主义作品都代表一种选择,画家从真实世界中选取他认为突出的特质来表现;没有一幅绘画作品可以捕捉整个世界,就好像尼采略带嘲讽地指出的那样:

Yet Van Gogh insisted that most had failed to do justice to their subjects. They had not, he claimed, produced realistic depictions of Provence. We are apt to call any painting realistic that competently conveys key elements of the world. But the world is complex enough for two realistic pictures of the same place to look very different depending on an artist's style and temperament. Two realistic artists may sit at the edge of the same olive grove and produce divergent sketches. Every realistic picture represents a choice of which features of reality are given prominence; no painting ever captures the whole, as Nietzsche mockingly pointed out in a bit of doggerel verse entitled:

现实主义画家

THE REALISTIC PAINTER

“完全忠实于自然”——天大的谎言:

Completely true to nature!'-what a lie:

自然怎么会被局限于一幅画中?

How could nature ever be constrained into a picture?

自然最小的部分已是无穷!

The smallest bit of nature is infinite!

因此他只是画出了他喜欢的。

And so he paints what he likes about it.

那么什么是他喜欢的?他喜欢他所能画出的!

And what does he like? He likes what he can paint!

如果我们喜欢某个画家的作品,那可能是因为,我们认为他或她选择了我们认为对于一片景色来说最有价值的特征。有些选择是如此敏锐,以至于它们逐渐成了一个地方的定义,只要我们到那个地方去旅行,就必然会想起某位伟大艺术家所描绘的特征。

If we in turn like a painter's work, it is perhaps because we judge that he or she has selected the features that we believe to be the most valuable about a scene. There are selections so acute that they come to define a place, we can no longer travel through it without being reminded of what a great artist noticed there.

换言之,比如,如果我们抱怨画家为我们画的肖像不像我们本人,我们并不是在指责这个画家欺骗了我们。只是我们觉得,或许这件艺术作品创作的选择过程出了差错,那些我们认为应该属于精华部分的地方没有被给予足够的重视。拙劣的艺术可以被定义为一连串错误选择的后果,该表现的没有表现出来,该省略的却又呈现出来。

Alternatively, if we complain that, for example, a portrait of us does not look 'like us', we are not accusing a painter of trickery. We simply feel that the process of selection that goes on in any work of art has gone wrong, and that parts of us which we think of as belonging to our essential selves have not been given their due. Bad art might thus be defined as a series of bad choices about what to show and what to leave out.

凡·高对绝大多数在他之前已经描绘过法国南部的画家进行了抱怨,认为他们没有把最本质的东西表现出来。

And leaving the essential out was precisely Van Gogh's complaint against most of the artists who had painted southern France until his own day.


用户搜索

疯狂英语 英语语法 新概念英语 走遍美国 四级听力 英语音标 英语入门 发音 美语 四级 新东方 七年级 赖世雄 zero是什么意思济南市八里桥新居英语学习交流群

  • 频道推荐
  • |
  • 全站推荐
  • 推荐下载
  • 网站推荐