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旅行的艺术:艺术 Ⅶ 令人眼界大开的艺术-2

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2020年09月10日

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文森特·凡·高 [2] 在1888年的2月底来到普罗旺斯。那年他35岁,他决定献身于绘画不过是8年前的事。在这之前,他尝试过做一名教师,继而是一名牧师,但都不太成功。来普罗旺斯之前的两年时间,他和他的弟弟泰奥居住在巴黎。泰奥是一名经营艺术品的商人,并在经济上资助凡·高。凡·高几乎没有接受过什么艺术训练,但是那时他和保罗·高更 [3] 、土鲁斯-劳特累克 [4] 已经成了朋友,并且他的作品和他们的作品一同在克利希大街的唐布兰咖啡馆展出。

Vincent van Gogh arrived in Provence at the end of February 1888. He was thirty-five years old and had devoted himself to painting only eight years before, after failing in attempts to become first a teacher and then a priest. For the previous two years, he had been living in Paris with his brother Theo, an art dealer, who supported him financially. He had had little artistic training, but had befriended Paul Gauguin and Henri de Toulouse-Lautrec and exhibited his work alongside theirs at the Café du Tambourin on the Boulevard de Clichy.

凡·高回忆他坐了16个小时的火车来普罗旺斯的感觉:“我依然清晰地记得那年冬天当我从巴黎到阿尔勒旅行时有多么兴奋。”阿尔勒是普罗旺斯地区最繁华的小镇,也是橄榄油贸易和铁路工程的中心。凡·高到了之后,带着他的背包行走在雪地里(那天很不寻常,积雪厚达10英寸),前往距离小镇北面的防御墙不远的卡雷旅馆。尽管天气寒冷,房间很小,凡·高依然因为他的此次南行而兴高采烈,他告诉他妹妹说:“我相信在这里的生活有很多地方会让人满意些。”

I can still remember vividly how excited I became that winter when travelling from Paris to Arles,' Van Gogh would recall of his sixteen-hour train journey to Provence. On his arrival in Arles, the most prosperous town in the region and a centre for the olive trade and railway engineering, Van Gogh carried his bags in the snow (an exceptional ten inches had fallen that day) to the small Hôtel Carrel, not far from the northern ramparts of the town. Despite the weather and the small size of his room, he was enthusiastic about his southerly move. As he told his sister, 'I believe that life here is just a little more satisfying than in many other spots.'

凡·高在阿尔勒一直待到了1889年的5月。在15个月的时间里,他创作出了大约200幅油画,100幅素描,还写了200封信——这大概称得上他最多产的时期了。来到阿尔勒后最早的作品展示了覆盖在雪下的阿尔勒镇,天空是清澈的蓝,大地呈现冰冻的桃红。凡·高到达小镇的5个星期后,春天来了。他画了14幅油画来展示阿尔勒小镇外原野里郁郁葱葱的树木。5月初,他画了阿尔勒-伯克运河上的朗格诺瓦吊桥,该桥位于阿尔勒镇的南面。5月底,他创作了一些风景画,主题是向着阿尔卑斯山丘的拉克罗平原和蒙特梅杰荒废的修道院。凡·高也曾试着从反方向来描绘这个景色,也就是登上修道院旁的斜坡,俯瞰阿尔勒。6月中旬,他的注意力已经转向了一个新的对象:丰收的景象,在短短两周内他就完成了10幅油画。他以惊人的速度工作着,就像他所说的,“快点,快点,快点,再快点,就好像一个收割者,在炽热的阳光下沉默着,全部的注意力只在于他的收获。”“我甚至中午都在工作,在耀眼的阳光下,就像一只蝉一样享受中午时光。我的上帝,如果我在25岁的时候就知道这个小镇,而不是35岁才来到这里,那该多好!”

Van Gogh was to remain in Arles until May 1889, fifteen months during which he produced approximately 200 paintings, 100 drawings and 200 letters-a period generally agreed to have been his greatest. The earliest works show Arles lying under snow, the sky a limpid blue, the earth a frozen pink. Five weeks after Van Gogh arrived, spring came and he painted fourteen canvases of trees in bloom in the fields outside Arles. At the beginning of May, he painted the Langlois drawbridge over the Arles-Bouc Canal, on the south side of Arles, and at the end of the month, he produced a number of views from the plain of La Crau, looking towards the Alpilles hills and the ruined abbey of Montmajour. He also painted the reverse scene, climbing the rocky slopes of the abbey for a view of Arles. By the middle of June, his attention had shifted to a new subject, the harvest, of which he completed ten paintings in only two weeks. He worked with extraordinary speed: as he put it, 'quickly, quickly, quickly and in a hurry, just like a harvester who is silent under the blazing sun, intent only on his reaping'. 'I work even in the middle of the day, in the full sunshine, and I enjoy it like a cicada. My God, if I had only known this country at the age of twenty-five, instead of coming here when I was thirty-five years old!'

后来,在向弟弟解释自己为什么要从巴黎搬到阿尔勒的原因时,凡·高说了两点原因:因为他想“画南方”,因为他想通过自己的作品使别人“看到”南方。虽然他不确定自己是否有这种力量,但他从未动摇过他这个在理论上可以实现的信念——也就是说,艺术家能够画出世界的一部分,并且最终使其他人的眼界因之而大开。

Later, explaining to his brother why he had moved from Paris to Arles, Van Gogh offered two reasons: because he had wanted to 'paint the south' and because he had wanted, through his work, to help other people to 'see' it. However unsure he was of his own powers to do this, he never wavered in his faith that the project was theoretically possible-that is, that artists could paint a portion of the world and in consequence open the eyes of others to it.

凡·高之所以坚信艺术具有如此令人大开眼界的力量,那是因为,他经常是作为一名观众来感受这种力量。从他的祖国荷兰移居法国以来,凡·高发现文学也有这种特别的力量。他读过巴尔扎克、福楼拜、左拉和莫泊桑的作品,并且非常感谢他们为他打开眼界去了解法国社会和民众心理的动态。《包法利夫人》向他展现了当地中产阶级的生活,《高老头》让他了解身处巴黎,身无分文却雄心勃勃的学生们——他在身处的社会里大体辨认出了从这些作品中读到的角色。

If he had such faith in the eye-opening power of art, it was because he had often experienced it as a spectator. Since moving to France from his native Holland, he had felt it particularly in relation to literature. He had read the works of Balzac, Flaubert, Zola and Maupassant and been grateful to these writers for opening his eyes to the dynamics of French society and psychology. Madame Bovary had taught him about provincial middle-class life and Père Goriot about penniless ambitious students in Paris-and he now recognized the characters from these novels in society at large.

绘画作品也以相似的方式打开了凡·高的视野。凡·高不住地赞扬其他画家,说自己透过他们的作品看到了某些颜色和氛围。比如,委拉斯开兹 [5] 让他认识了灰色的世界。委拉斯开兹的多幅油画是以简朴的伊比利亚家居为题材。在那里,墙是由砖块或是一种颜色阴暗的灰泥砌成的。到中午的时候,百叶窗被放下来,用于阻止热气进入屋内,这个时候主导的色彩就是幽暗的灰色;有时百叶窗并没有完全关紧,或是有一部分脱落,会射进明亮的黄色光线。这种效果并非由委拉斯开兹发明,在他之前就有许多人见过这样的情景,但是几乎没有人有这种力量或是天赋,去捕捉这些效果,并将它们转化为可以与人交流的体验。就好像一个发现新大陆的探险者,委拉斯开兹已经(至少对于凡·高来说)用他的名字命名了这场在光的世界里的探索。

Paintings had similarly opened his eyes. Van Gogh frequently paid tribute to painters who had allowed him to see certain colours and atmospheres. Velzquez, for example, had given him a map that allowed him to see grey. Several of Velzquez's canvases depicted humble Iberian interiors, with walls made of brick or a sombre plaster, where even in the middle of the day, when the shutters were closed to protect the house from the heat, the dominant colour was a sepulchral grey, occasionally pierced, where the shutters were not quite closed or a section had been chipped off them, by a shaft of brilliant yellow. Velzquez had not invented such effects, many would have witnessed them before him, but few had had the energy or talent to capture them and turn them into communicable experience. Like an explorer with a new continent, Velázquez had, for Van Gogh at least, given his name to a discovery in the world of light.

凡·高在阿尔勒镇中心的许多小饭店里吃过饭。这些小饭店的墙通常是阴暗的,百叶窗紧闭,而屋外却是阳光灿烂。有一次午餐时间,他写信给他弟弟,说他偶然发现某些完全“委拉斯开兹式”的东西:“我所在的这间饭馆非常奇怪。它全部是灰色的……一种‘委拉斯开兹式’的灰色——就像在《纺纱的女人》中的一样,甚至连委拉斯开兹的画作中那一条条从百叶窗缝隙透入的细细的亮光都不缺……在厨房里,有一个老女人和一个又矮又胖的仆人,他们的穿着也是灰、黑、白三色……这是纯粹的委拉斯开兹式。”

Van Gogh ate in many small restaurants in the centre of Arles. The walls were often dark, the shutters were closed and the sunlight outside was bright. One lunchtime, he wrote to his brother explaining that he had stumbled upon something utterly Velázquezian: 'This restaurant where I am is very strange. It is grey all over … a Velasquez grey-like in the Spinning Women -and even the very narrow, very fierce ray of sunlight through a blind, like the one that slants across Velasquez's picture, is not missing … In the kitchen, [there's] an old woman and a short, fat servant also in grey, black, white … it's pure Velasquez.'

对于凡·高来说,衡量每一个杰出画家的标志就是他们是否能够让我们更加清楚地看到世界的某些部分。如果说委拉斯开兹让凡·高了解了灰色和大厨师们粗糙的脸,那么,莫奈就是落日的导览人,伦勃朗让他了解了晨光,维米尔 [6] 则让他了解了阿尔勒镇的少女(他在阿尔勒附近看到了一个少女之后,写信告诉他弟弟说:“她简直就是维米尔的画中人。”)。一阵大雨过后,罗讷的天空让他联想到了葛饰北斋 [7] ,而米利特的麦子和海上圣马利亚 [8] 的年轻女子让他联想起契马布埃 [9] 和乔托 [10] 。

It was for Van Gogh the mark of every great painter to allow us to see certain aspects of the world more clearly. If Velázquez was his guide to grey and the coarse faces of large cooks, then Monet was his guide to sunsets, Rembrandt to morning light and Vermeer to the adolescent girls of Arles ('A perfect Vermeer,' he explained to his brother after spotting one example near the arena). The sky over the Rhône after a heavy rain shower reminded him of Hokusai, the wheat of Millet and the young women in Saintes-Maries de la Mer of Cimabue and Giotto.

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