英語視頻暢談歐美人文風(fēng)情35：強(qiáng)納森 維梅爾:《戴珍珠耳環(huán)的少女》
《戴珍珠耳環(huán)的少女》
I studied art history in New York. And when I was a grad student, I spent a lot of time at The Frick. So I know what kind of a special place it is, and I also know that it has a lot in common with the Mauritshuis. The Mauritshuis is a museum that specializes, like no other, in Dutch paintings of the Golden Age, so I think roughly 1450 to 1750.
我在紐約讀藝術(shù)史。當(dāng)我還是研究生時(shí)，我花很多時(shí)間在弗利克美術(shù)館里。所以我知道這里是個(gè)一個(gè)怎樣的特別之地，我同樣也知道它和Mauritshuis美術(shù)館有許多共同之處。Mauritshuis美術(shù)館是一間與眾不同、專門展出黃金時(shí)代的荷蘭畫作，我想大約在1450到1750年間。
The Girl with a Pearl Earring was done at the height of that period in the 1660s. All of the other paintings in the exhibition date from roughly the same period from the 17th century, and they all come from Holland.
《戴珍珠耳環(huán)的少女》是在1660年代那時(shí)期的顛峰完成的。展品中的所有其他畫作可以追溯回大約17世紀(jì)的相同時(shí)期，它們?nèi)紒碜院商m。
We know very little about Johannes Vermeer, actually. We piece together quite a lot of information out of olds, inventories, and legal documents, but that, of course, gives only a partial impression of who he was.
我們對(duì)于強(qiáng)納森·維梅爾知道的非常少，真的。我們拼湊很多從舊時(shí)代、財(cái)產(chǎn)清單、法律文件得到的資訊，但那，當(dāng)然只給了他身分的部分印象。
During his life, we don't know where he studied, where he learned his craft from. We know that he lived in Delft. We know that he painted very few paintings. We think he probably had one patron, the man who bought all of his paintings. We know he had a lot of kids. But we don't...really don't have any way of knowing who he was as a person.
在他的人生中，我們不曉得他在哪里求學(xué)、他從哪學(xué)到他的技術(shù)。我們知道他住在Delft。我們知道他畫過非常少的畫。我們認(rèn)為他可能有位老主顧，那個(gè)買下他所有畫作的男子。我們知道他有很多孩子。但我們不...真的沒有任何方式了解身為一個(gè)人他會(huì)是誰。
The girl is very timeless and very iconic. And because of that, I think people find her extremely recognizable. It's been helped, of course, by Tracy Chevalier's novel, using the girl as a subject, as well as Peter Webber's film.
這女孩是非常永恒、且非常經(jīng)典的。因此，我認(rèn)為人們會(huì)發(fā)現(xiàn)她非常容易認(rèn)出。它受到，當(dāng)然，崔西?雪佛蘭寫的小說的幫助，利用那女孩作為主題，還有彼得?韋伯的電影。
And we're actually using a lot of social media to promote her. We have been using various platforms—Facebook, Instagram. And we find that she is extremely accessible to a 21st century audience.
我們實(shí)際上運(yùn)用許多社交媒體宣傳她。我們一直使用各種平臺(tái)--Facebook、Instagram。我們發(fā)現(xiàn)她對(duì)二十一世紀(jì)的觀眾來說是非常平易近人的。
We have no way of knowing who the model was, if there was a model. She is not a portrait. She is actually a tronie, so she is an idealized figure. And she is not meant to be linked to this specific personality, although many art historians have tried to give her one.
我們沒有辦法知道那模特兒是誰，如果有個(gè)模特兒的話。她不是肖像畫，她其實(shí)是幅臉部特寫畫像，所以她是個(gè)理想化的人物。她并非意圖要與這個(gè)特定的性格有所連結(jié)，雖然許多藝術(shù)史學(xué)家都試著要給她一種性格。
She's been suggested to be Vermeer's eldest daughter, who would have been actually a little bit too young at that time to really look like her. But I think that's part of her timeless appeal people want to connect with her in some way. And giving her a name, I think, makes them feel she is a little bit more real.
有人提出她是維梅爾的大女兒，但她可能在當(dāng)時(shí)確實(shí)有點(diǎn)太年輕而真的看起來不像她。但我認(rèn)為那是她的那種永恒吸引力其中一部分，那是人們想要以某種方式和她有所連結(jié)的。我認(rèn)為，給她一個(gè)名字讓他們覺得她好像有點(diǎn)更加真實(shí)。
But she's not meant to be real. When we look at her, we wonder, "Who is she? Who is she turning around the face? How does she come across that enormous pearl that is dangling from her ear?" And we don't know, and these are things we can't possibly know.
但她并非打算要成為真實(shí)的。當(dāng)我們看著她，我們想知道：“她是誰?她對(duì)誰轉(zhuǎn)過臉?她怎么發(fā)現(xiàn)那掛在她耳朵上的巨大珍珠?”我們都不曉得，而這些是我們不可能會(huì)知道的事情。
And I think this is something you see in so many works by Vermeer. Another thing with the girl is the gaze. When you look at that gaze, she entrances us, and she's both a coed and a seductress, and she's also a wide-eyed innocent. So we really don't know how to interpret her and it keeps us looking.
我認(rèn)為這是你在維梅爾許多作品中會(huì)看到的東西。有關(guān)這女孩另一件事是那凝視。當(dāng)你看著那凝視，她讓我們出神，而她既是一位女大學(xué)生也是一位勾引男性的女人，她同樣也是睜大眼睛的無辜女孩。所以我們確實(shí)不知道要怎么解讀她，它持續(xù)讓我們看著。
