愛德華馬內(nèi)的肖像畫
2023復(fù)習(xí)正是強(qiáng)化復(fù)習(xí)階段，在考研英語中占了40分，所以考研英語閱讀是英語科目中重要的一項(xiàng)。名師老師曾建議過考研生需要堅(jiān)持每天泛讀10-15分鐘的英文原刊。強(qiáng)烈推薦了雜志《經(jīng)濟(jì)學(xué)人》.雜志中的文章也是考研英語的主要材料來源.希望考研考生認(rèn)真閱讀，快速提高考研英語閱讀水平。 The portraits of Edouard Manet 愛德華馬內(nèi)的肖像畫 Bold and strange 勇辟蹊徑，立異標(biāo)新 He worked to imbue his paintings with life as nophotograph could 馬內(nèi)畫筆下的人物生動(dòng)形象，照片難以匹敵 THREE portraits share a wall. In one a dark-eyed,forthright beauty stares at the viewer; another features a scarlet-lipped, tormented womanringed by an inky sea of grief. The final image is of a wary creature with a pert nose whoshivers in her furs. Each is so different in mood and technique that it is remarkable thatthey were all painted by Edouard Manet between 1868 and 1874. More remarkable still, thesitters are the same woman: Berthe Morisot, a fellow painter. These paintings and othersmake a show of Manet s portraits at the Royal Academy in London one not to be missed. 面墻，三幅肖像畫。第一幅，一位黑眼睛美人凝視前方，神情真摯，仿佛盯著觀眾;另一幅中，一位女子唇如烈焰，神情痛苦，四周彌漫著濃濃的悲傷。最后一幅，畫中人鼻子小巧筆挺，一副小心謹(jǐn)慎的樣子，在皮草里瑟瑟發(fā)抖。這三幅作品的基調(diào)與技巧迥然相異，卻都是愛德華馬內(nèi)在1868年至1874年間所創(chuàng)作的，實(shí)在了不起。更厲害的是，畫中的模特兒是同一位女子：馬內(nèi)的同行畫家貝爾特莫里索。這三幅畫還有其他一些作品正在倫敦皇家藝術(shù)院的一個(gè)馬內(nèi)肖像畫展覽中展出，實(shí)在不容錯(cuò)過。 On view are some 50 paintings and works on paper. Inspired by the dramatic masterpiecesof Francisco Goya and Diego Velzquez , and Frans Hals s geniusfor portraying people with a gusto for life, these works trace Manet s influences and hisefforts to master a vision of his own. Grouped by theme, the portraits are spotlit againstdark walls as if each was a jewel. Many are, though the curators could have exercised morediscretion. A stronger show would have been a smaller one; arranged chronologically, itcould have revealed more about the artist. 展覽有大約50幅油畫及素描。這些作品是馬內(nèi)被弗朗西斯科戈雅、迭戈委拉茲開斯出色的大作所感染，又受佛蘭斯哈爾斯畫人物栩栩如生的本領(lǐng)所啟發(fā)而創(chuàng)作的，從中可以看出馬內(nèi)受到哪些前輩的影響以及他為追求個(gè)人風(fēng)格所做的努力。這些肖像畫按主題展出，掛在黑暗的墻上用聚光燈照亮，仿佛每幅畫都是一件珠寶。其中很多確實(shí)被視為珠寶，不過館長考慮得還不夠周到。如果規(guī)模小些，展覽會(huì)更有感染力，如果作品按時(shí)間順序展出，人們就可以更加了解馬內(nèi)。 Seductive, witty and intelligent, Manet was also financially independent. Few of theseportraits were commissions. His pianist wife can be seen in several glowing, affectionateworks, and Manet painted some arresting portraits of his friends. The canvasses of VictorineMeurent, a professional model, radiate a sexual charge. This is as true when she is wearinga simple shirt as when she is seen naked at a picnic in the company of fashionably dressedmen in his famous painting Le dejeuner sur l herbe. Meurent inspired haunting andunforgettable works, including Manet s greatest one, Olympia, which is unfortunately not inthis show. 馬內(nèi)本人迷人、詼諧、睿智，經(jīng)濟(jì)也比較寬裕。這些肖像畫往往不是受人委托而畫的。好幾幅色彩鮮艷、充滿深情的作品里，都可以看見馬內(nèi)那位鋼琴家妻子的身影，馬內(nèi)還為朋友們畫了一些出彩的肖像畫。有些油畫畫的是職業(yè)模特維多利安莫涵，在畫中她散發(fā)著一種性感的魅力。這種魅力不論莫涵只穿一件簡(jiǎn)單的襯衣，還是像馬內(nèi)另一幅著作《草地上的野餐》那樣一絲不掛地與衣著入時(shí)的男子們野餐，你都能感受得到。莫涵激發(fā)了馬內(nèi)的靈感，使他畫出了許多深入人心的作品，其中包括最著名的《奧林匹亞》，可惜這幅畫不在本次展覽中。 Manet hated the thought that his paintings would be seen jammed together. Here the hangingcould not be more generous; a cynic might say stretched out. One gallery is devoted to amap of Paris. Music in the Tuileries Gardens, a freely painted park scene from 1862, has aroom to itself. This crowded vision of men in top hats and women in fashionable bonnets isnot actually a portrait, but viewers can make out the figures of Manet and CharlesBaudelaire, a poet. Unstaged and exuberant, his evocation of the bourgeoisie at play hasbeen called the first truly modern picture. It was brutally attacked at the time. 馬內(nèi)不喜歡自己的作品被掛得密密麻麻地展出。而這次，展覽場(chǎng)地可謂寬敞至極，有人可能會(huì)挖苦說簡(jiǎn)直是空曠。有個(gè)展廳專門用來展覽一幅巴黎地圖。《杜樂麗花園中的音樂》也有一個(gè)專門的展廳，畫中人山人海，男士們戴著大禮帽，女士們戴著時(shí)尚軟帽。其實(shí)這幅不算肖像畫，不過觀眾可以從中認(rèn)出馬內(nèi)和詩人查爾斯波德萊爾。這幅活潑隨性的資產(chǎn)階級(jí)玩樂圖如今被尊為第一幅真正的現(xiàn)代畫，但在當(dāng)時(shí)卻遭到猛烈抨擊。 The critics shredded Manet. They mocked his inconsistent style; his refusal to respectconventions. Their vicious words were like lashes of a whip, Manet once wrote. Yet he hadcontemporary champions, including Baudelaire, Stephane Mallarme, a symbolist poet, andEmile Zola, a novelist. Younger artists, such as the nascent Impressionists, also admiredhim. Pierre-Auguste Renoir observed that Manet was as important to them as Cimabue orGiotto were to the Italians of the Quattrocento. His influence continues. Rineke Dijkstra, aphotographer, credits Manet with helping inspire contemporary large-format portraits. 那時(shí)，評(píng)論人士將馬內(nèi)批得體無完膚。他們譏諷馬內(nèi)的畫風(fēng)前后矛盾，笑話他不尊重傳統(tǒng)。他們的毒舌就像鞭子的抽打，馬內(nèi)曾寫道。但也有一些同時(shí)代的人擁護(hù)馬內(nèi)，包括波德萊爾、象征主義詩人斯忒法馬拉美及小說家埃米爾左拉。年輕一代的畫家也很崇拜他，如早期的印象派畫家。皮埃爾-奧古斯特雷阿諾說，馬內(nèi)之于其擁護(hù)者，就如契馬布埃或喬托之于十五世紀(jì)的意大利那樣重要。時(shí)至今日，馬內(nèi)的影響力依然未減。攝影師日尼科迪克斯特拉認(rèn)為，馬內(nèi)是現(xiàn)代大幅肖像畫發(fā)展的功臣。 As it happens, Manet s own style was in part a response to the rise of portrait photography.By the time he was in his 30s it seemed everybody wanted such a photograph, himselfincluded. He understood this presented a challenge for painters, and so he set out to makehis portraits boldly strange, argues Carol Armstrong, an art historian. This show may not bewithout disappointments, but it offers ample evidence of why Manet is revered. 當(dāng)時(shí)恰逢人物攝影興起，馬內(nèi)自己的畫風(fēng)多少受此影響。在馬內(nèi)三十多歲那個(gè)年代，似乎每個(gè)人都想要一張自己的照片，馬內(nèi)也不例外。美術(shù)史家卡羅阿姆斯特朗認(rèn)為，馬內(nèi)深知攝影給畫家?guī)砹颂魬?zhàn)，于是他打算創(chuàng)作出大膽而新奇的肖像畫。這次展覽可能會(huì)有不盡人意之處，但也能充分說明為什么馬內(nèi)如此備受推崇。 詞語解釋 1.stare at 凝視 I cross my arms and stare at him until hecrumbles. 我交叉起雙臂，盯著他直到他崩潰。 The children stare at the tv and even point to it. 這些孩子會(huì)盯著電視看，還會(huì)對(duì)其指手畫腳。 2.stretch out 延伸;綿延 If you stretch out a greedy hand to it. 如果你向它伸出貪婪的手。 But it s not a short-term counter-cyclical strategy. It will stretch out over five to 10 yearsand should be done well and not wastefully. 但是它不是一種短期的反周期策略，它將會(huì)延伸5至10年，而且應(yīng)該很好地實(shí)施，而不是揮霍性實(shí)施。 3.response to 反應(yīng) The response to similar actions was markedly different 11 years ago. 11年前人們對(duì)此類事件的反應(yīng)和今天大相徑庭。 What s your response to the criticism? 您怎么回應(yīng)受到的那些批評(píng)? 4.set out to 打算，著手 The screenwriter set out to explore the ways in which different people face demandingtimes. 劇本作者一開始是要探討不同的人面對(duì)艱難時(shí)期的方式。 In new york, the protesters initially set out to occupy wall street but were rebuffed bypolice. 在紐約，抗議者最初打算占據(jù)華爾街，但卻遭到了警方的斷然拒絕。
2023復(fù)習(xí)正是強(qiáng)化復(fù)習(xí)階段，在考研英語中占了40分，所以考研英語閱讀是英語科目中重要的一項(xiàng)。名師老師曾建議過考研生需要堅(jiān)持每天泛讀10-15分鐘的英文原刊。強(qiáng)烈推薦了雜志《經(jīng)濟(jì)學(xué)人》.雜志中的文章也是考研英語的主要材料來源.希望考研考生認(rèn)真閱讀，快速提高考研英語閱讀水平。 The portraits of Edouard Manet 愛德華馬內(nèi)的肖像畫 Bold and strange 勇辟蹊徑，立異標(biāo)新 He worked to imbue his paintings with life as nophotograph could 馬內(nèi)畫筆下的人物生動(dòng)形象，照片難以匹敵 THREE portraits share a wall. In one a dark-eyed,forthright beauty stares at the viewer; another features a scarlet-lipped, tormented womanringed by an inky sea of grief. The final image is of a wary creature with a pert nose whoshivers in her furs. Each is so different in mood and technique that it is remarkable thatthey were all painted by Edouard Manet between 1868 and 1874. More remarkable still, thesitters are the same woman: Berthe Morisot, a fellow painter. These paintings and othersmake a show of Manet s portraits at the Royal Academy in London one not to be missed. 面墻，三幅肖像畫。第一幅，一位黑眼睛美人凝視前方，神情真摯，仿佛盯著觀眾;另一幅中，一位女子唇如烈焰，神情痛苦，四周彌漫著濃濃的悲傷。最后一幅，畫中人鼻子小巧筆挺，一副小心謹(jǐn)慎的樣子，在皮草里瑟瑟發(fā)抖。這三幅作品的基調(diào)與技巧迥然相異，卻都是愛德華馬內(nèi)在1868年至1874年間所創(chuàng)作的，實(shí)在了不起。更厲害的是，畫中的模特兒是同一位女子：馬內(nèi)的同行畫家貝爾特莫里索。這三幅畫還有其他一些作品正在倫敦皇家藝術(shù)院的一個(gè)馬內(nèi)肖像畫展覽中展出，實(shí)在不容錯(cuò)過。 On view are some 50 paintings and works on paper. Inspired by the dramatic masterpiecesof Francisco Goya and Diego Velzquez , and Frans Hals s geniusfor portraying people with a gusto for life, these works trace Manet s influences and hisefforts to master a vision of his own. Grouped by theme, the portraits are spotlit againstdark walls as if each was a jewel. Many are, though the curators could have exercised morediscretion. A stronger show would have been a smaller one; arranged chronologically, itcould have revealed more about the artist. 展覽有大約50幅油畫及素描。這些作品是馬內(nèi)被弗朗西斯科戈雅、迭戈委拉茲開斯出色的大作所感染，又受佛蘭斯哈爾斯畫人物栩栩如生的本領(lǐng)所啟發(fā)而創(chuàng)作的，從中可以看出馬內(nèi)受到哪些前輩的影響以及他為追求個(gè)人風(fēng)格所做的努力。這些肖像畫按主題展出，掛在黑暗的墻上用聚光燈照亮，仿佛每幅畫都是一件珠寶。其中很多確實(shí)被視為珠寶，不過館長考慮得還不夠周到。如果規(guī)模小些，展覽會(huì)更有感染力，如果作品按時(shí)間順序展出，人們就可以更加了解馬內(nèi)。 Seductive, witty and intelligent, Manet was also financially independent. Few of theseportraits were commissions. His pianist wife can be seen in several glowing, affectionateworks, and Manet painted some arresting portraits of his friends. The canvasses of VictorineMeurent, a professional model, radiate a sexual charge. This is as true when she is wearinga simple shirt as when she is seen naked at a picnic in the company of fashionably dressedmen in his famous painting Le dejeuner sur l herbe. Meurent inspired haunting andunforgettable works, including Manet s greatest one, Olympia, which is unfortunately not inthis show. 馬內(nèi)本人迷人、詼諧、睿智，經(jīng)濟(jì)也比較寬裕。這些肖像畫往往不是受人委托而畫的。好幾幅色彩鮮艷、充滿深情的作品里，都可以看見馬內(nèi)那位鋼琴家妻子的身影，馬內(nèi)還為朋友們畫了一些出彩的肖像畫。有些油畫畫的是職業(yè)模特維多利安莫涵，在畫中她散發(fā)著一種性感的魅力。這種魅力不論莫涵只穿一件簡(jiǎn)單的襯衣，還是像馬內(nèi)另一幅著作《草地上的野餐》那樣一絲不掛地與衣著入時(shí)的男子們野餐，你都能感受得到。莫涵激發(fā)了馬內(nèi)的靈感，使他畫出了許多深入人心的作品，其中包括最著名的《奧林匹亞》，可惜這幅畫不在本次展覽中。 Manet hated the thought that his paintings would be seen jammed together. Here the hangingcould not be more generous; a cynic might say stretched out. One gallery is devoted to amap of Paris. Music in the Tuileries Gardens, a freely painted park scene from 1862, has aroom to itself. This crowded vision of men in top hats and women in fashionable bonnets isnot actually a portrait, but viewers can make out the figures of Manet and CharlesBaudelaire, a poet. Unstaged and exuberant, his evocation of the bourgeoisie at play hasbeen called the first truly modern picture. It was brutally attacked at the time. 馬內(nèi)不喜歡自己的作品被掛得密密麻麻地展出。而這次，展覽場(chǎng)地可謂寬敞至極，有人可能會(huì)挖苦說簡(jiǎn)直是空曠。有個(gè)展廳專門用來展覽一幅巴黎地圖。《杜樂麗花園中的音樂》也有一個(gè)專門的展廳，畫中人山人海，男士們戴著大禮帽，女士們戴著時(shí)尚軟帽。其實(shí)這幅不算肖像畫，不過觀眾可以從中認(rèn)出馬內(nèi)和詩人查爾斯波德萊爾。這幅活潑隨性的資產(chǎn)階級(jí)玩樂圖如今被尊為第一幅真正的現(xiàn)代畫，但在當(dāng)時(shí)卻遭到猛烈抨擊。 The critics shredded Manet. They mocked his inconsistent style; his refusal to respectconventions. Their vicious words were like lashes of a whip, Manet once wrote. Yet he hadcontemporary champions, including Baudelaire, Stephane Mallarme, a symbolist poet, andEmile Zola, a novelist. Younger artists, such as the nascent Impressionists, also admiredhim. Pierre-Auguste Renoir observed that Manet was as important to them as Cimabue orGiotto were to the Italians of the Quattrocento. His influence continues. Rineke Dijkstra, aphotographer, credits Manet with helping inspire contemporary large-format portraits. 那時(shí)，評(píng)論人士將馬內(nèi)批得體無完膚。他們譏諷馬內(nèi)的畫風(fēng)前后矛盾，笑話他不尊重傳統(tǒng)。他們的毒舌就像鞭子的抽打，馬內(nèi)曾寫道。但也有一些同時(shí)代的人擁護(hù)馬內(nèi)，包括波德萊爾、象征主義詩人斯忒法馬拉美及小說家埃米爾左拉。年輕一代的畫家也很崇拜他，如早期的印象派畫家。皮埃爾-奧古斯特雷阿諾說，馬內(nèi)之于其擁護(hù)者，就如契馬布埃或喬托之于十五世紀(jì)的意大利那樣重要。時(shí)至今日，馬內(nèi)的影響力依然未減。攝影師日尼科迪克斯特拉認(rèn)為，馬內(nèi)是現(xiàn)代大幅肖像畫發(fā)展的功臣。 As it happens, Manet s own style was in part a response to the rise of portrait photography.By the time he was in his 30s it seemed everybody wanted such a photograph, himselfincluded. He understood this presented a challenge for painters, and so he set out to makehis portraits boldly strange, argues Carol Armstrong, an art historian. This show may not bewithout disappointments, but it offers ample evidence of why Manet is revered. 當(dāng)時(shí)恰逢人物攝影興起，馬內(nèi)自己的畫風(fēng)多少受此影響。在馬內(nèi)三十多歲那個(gè)年代，似乎每個(gè)人都想要一張自己的照片，馬內(nèi)也不例外。美術(shù)史家卡羅阿姆斯特朗認(rèn)為，馬內(nèi)深知攝影給畫家?guī)砹颂魬?zhàn)，于是他打算創(chuàng)作出大膽而新奇的肖像畫。這次展覽可能會(huì)有不盡人意之處，但也能充分說明為什么馬內(nèi)如此備受推崇。 詞語解釋 1.stare at 凝視 I cross my arms and stare at him until hecrumbles. 我交叉起雙臂，盯著他直到他崩潰。 The children stare at the tv and even point to it. 這些孩子會(huì)盯著電視看，還會(huì)對(duì)其指手畫腳。 2.stretch out 延伸;綿延 If you stretch out a greedy hand to it. 如果你向它伸出貪婪的手。 But it s not a short-term counter-cyclical strategy. It will stretch out over five to 10 yearsand should be done well and not wastefully. 但是它不是一種短期的反周期策略，它將會(huì)延伸5至10年，而且應(yīng)該很好地實(shí)施，而不是揮霍性實(shí)施。 3.response to 反應(yīng) The response to similar actions was markedly different 11 years ago. 11年前人們對(duì)此類事件的反應(yīng)和今天大相徑庭。 What s your response to the criticism? 您怎么回應(yīng)受到的那些批評(píng)? 4.set out to 打算，著手 The screenwriter set out to explore the ways in which different people face demandingtimes. 劇本作者一開始是要探討不同的人面對(duì)艱難時(shí)期的方式。 In new york, the protesters initially set out to occupy wall street but were rebuffed bypolice. 在紐約，抗議者最初打算占據(jù)華爾街，但卻遭到了警方的斷然拒絕。
