外國(guó)人最想和你聊的名人話題：保羅·塞尚
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About Cézanne 關(guān)于塞尚
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed.The Cézannes came from the small town of Cesana now in West Piedmont, and it has been assumed that their name came from Italian origin. Paul Cézanne was born on 19 January 1839 in Aix-en-Provence, in Provence in the South of France. On 22 February, Paul was baptized in the parish church, with his grandmother and uncle Louis as godparents. His father, Louis-Auguste Cézanne (28 July 1798-23 October 1869), was the co-founder of a banking firm that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.
Cézanne's work demonstrates a mastery of design, colour, tone, composition and draughtsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.
塞尚的畫具有鮮明的特色。他強(qiáng)調(diào)繪畫的純粹性，重視繪畫的形式構(gòu)成。他極力追求一種能塑造出鮮明、結(jié)實(shí)的形體的繪畫語言。他作畫常以黑色的線勾畫物體的輪廓，甚至要將空氣、河水、云霧等，都勾畫出輪廓來。在他的畫中，無論是近景還是遠(yuǎn)景的物象，在清晰度上都被拉到同一個(gè)平面上來。這樣處理，既與傳統(tǒng)表現(xiàn)手法拉開距離，又為畫面構(gòu)成留下表現(xiàn)的余地。為了畫面的形式結(jié)構(gòu)，他不惜犧牲客觀的真實(shí)。他最早擺脫了千百年來西方藝術(shù)傳統(tǒng)的再現(xiàn)法則對(duì)畫家的限制。在塞尚的畫中，經(jīng)常出現(xiàn)對(duì)客觀造型的有意歪曲，如透視不準(zhǔn)、人物變形等。他無意于再現(xiàn)自然。而他對(duì)自然物象的描繪，根本上是為了創(chuàng)造一種形與色構(gòu)成的韻律。他曾說："畫家作畫，至于它是一只蘋果還是一張臉孔，對(duì)于畫家那是一種憑借，為的是一場(chǎng)線與色的演出，別無其他的。"
塞尚重視繪畫的形式美，強(qiáng)調(diào)畫面視覺要素的構(gòu)成秩序。這種追求其實(shí)在西方古典藝術(shù)傳統(tǒng)中早已出現(xiàn)，而塞尚始終對(duì)古典藝術(shù)抱著崇敬之情。他最崇拜法國(guó)古典主義畫家普桑。他曾說："我的目標(biāo)是以自然為對(duì)象，畫出普桑式的作品。"他力圖使自己的畫，達(dá)到普桑作品中那種絕妙的均衡和完美。他向著這方面，進(jìn)行異常執(zhí)著的追求，以至于對(duì)傳統(tǒng)的再現(xiàn)法則不以為然。他走向極端，脫離了西方藝術(shù)的傳統(tǒng)。正是如此，他被人們尊奉為"現(xiàn)代繪畫之父"。
He would paint, he said, like Cézanne and Degas, but after Auschwitz.
他說他會(huì)像塞尚和德加那樣繪畫，不過要在奧斯威辛之后。
The paintings of Cézanne prefigured the rise of cubism in the early 20th century.
保羅·塞尚的繪畫預(yù)示了 20 世紀(jì)初葉立體主義的興起。
After Cézanne, the lines in the frame of oil paintings began to show characteristics different from before.
油畫畫面結(jié)構(gòu)中的線在塞尚以后開始顯示出不同于以往的特性。
Cézanne's influence was strongest during the generation after he died, but it has proved remarkably persistent.
塞尚之影響，最強(qiáng)見于他過世之后，然卻長(zhǎng)盛不衰。Cézanne flattened the conventional picture plane.塞尚將傳統(tǒng)的畫面空間平面化。
Cézanne's late canvases of monolithic Naked Bathers were his favourite style.
塞尚晚期的裸浴者全身像油畫是他最喜歡的風(fēng)格。
"Cézanne and Beyond" is a beautiful and powerful collection of modern and post-modern art by some of the most talented painters of the past 100 years.
"塞尚·超越"美妙絕倫，震撼強(qiáng)烈，集百年最具天賦作者現(xiàn)代與后現(xiàn)代藝術(shù)于一體。
The subject of this picture of a reclining clothed figure, unique in Cézanne's oeuvre.
這幅畫的題材是一個(gè)穿衣斜躺著的人物，在塞尚的作品中很少見。
Cézanne's shadow is beginning to fade.
塞尚的影響開始漸漸減弱。
His works affected Cézanne.
他的作品影響了塞尚。
Early works of him were influenced by Cézanne, Vincent Van Gogh and cubism, but later he began to form his own style of art, and his skill of painting come to be more mature.
他早期的藝術(shù)創(chuàng)作受到塞尚、梵高、立體主義等現(xiàn)代派繪畫的影響，隨后形成自己獨(dú)特的藝術(shù)風(fēng)格，其繪畫語言也逐漸成熟。
Cézanne continued to submit works to the Salon until 1882.
塞尚繼續(xù)向沙龍?zhí)峤蛔髌分钡?882年。
Cézanne remained a devout Roman Catholic.
塞尚仍然是個(gè)虔誠(chéng)的天主教徒。
Cézanne's paintings were shown in the exhibition.
塞尚的畫在展覽中展出。
Religious images appeared less frequently in Cézanne's later work.
宗教圖像在塞尚的后期作品中出現(xiàn)得越來越少。
Cézanne chose to work in isolation.
塞尚選擇獨(dú)自工作。
Cézanne's paintings were not well received.
塞尚的作品不是很受歡迎。
Mike: See, this is my new painting.
麥克：看，這是我的最新畫作。
Daisy: It's very beautiful.
黛西：畫得很美。
Mike: I was imitating Cézanne.
麥克：我是模仿了塞尚的畫。
Daisy: I can't distinguish paintings of painters like Cézanne, Monet, and Van Gogh.
黛西：我分不清塞尚，莫奈，梵高這些畫家的畫。
Mike: That's normal, you are not an expert.
麥克：這很正常，你又不是專家。
Daisy: Can you tell?
黛西：你能分辨嗎？
Mike: To be frank, I can't either. But I know most works of each one.
麥克：說實(shí)話，我也不行。但我知道他們每個(gè)人的大部分作品。
Daisy: What is the main style of Cézanne's work?
黛西：塞尚的作品主要風(fēng)格是什么？
Mike: He is a Post-Impressionist painter, he does not have a definite style, but you can feel it roughly from his paintings.
麥克：塞尚是個(gè)后印象派畫家，他沒有一個(gè)確定的風(fēng)格，但是你可以從他的畫中大體感受到。
Daisy: I only know the style of Picasso, his is very strange.
黛西：我只知道畢加索的風(fēng)格，他的風(fēng)格很奇特。
Mike: Yes, he is very exceptional.
麥克：是的，他非常獨(dú)特。
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