Review: The Pre-Raphaelite Legacy at the Metropolitan Muum
口腔医生年终总结Lisa Zeiger / 10 June 2014
评论：大都会博物馆的前拉斐尔派遗产
可爱壁纸图片From the dark grey walls of a quiet gallery in the Lehman Wing of the Metropolitan Muum there glow forth some 30 minal works of the Pre-Raphaelite Brotherhood, arguably England’s most lyrical and ductive contribution to the fine arts. The are works that bewitch, with a mimesis of female beauty unequalled except in the High Renaissance or in, let us say, the head of Nefertiti in the Neues Muum in Berlin.
在大都会博物馆的莱曼翼部有一个安静的画廊，深灰色的墙上，30幅影响深广的的前拉斐尔派兄弟会作品焕发着光芒，据说它们是英国史上最抒情而又富魅惑力的杰作。除却文艺复兴盛期、或柏林新博物馆的奈费尔提蒂的头像这样的艺术形式以外，这些摹拟女性美的作品简直迷人得无可比拟。
It is female beauty, however, of a peculiarly languid sort, the beauty of the mu who reigns
through submission, the languor of the models – Elizabeth Siddal comes to mind – intensified, all too often, by laudanum or chloral. 如梦令歌词Her sovereignty aris through acquiescence, a majestic suspen of lf in the rvice of myth.
这里谈的女性美是一种慵懒的类型。缪斯之美因谦恭而占主导地位。说到慵懒的典范，马上会让人想起伊丽莎白·希德尔，这种体验会因为鸦片或咖啡因被强化。她的至高无上来源于服务于神话的那种顺服和高贵的自我的悬念。
The exhibition opens with a rare and precious work of applied art; the cabinet, designed by Philip Webb and painted by Edward Burne-Jones, entitled The Backgammon Players. Its prominence reminds us that the eventual trajectory of the Brotherhood and its offspring, the Arts & Crafts Movement, was to traver traditional divisions in the arts, exalting furniture, metalwork and ceramics, as well as painting and poetry, often synthesising one or more of the arts in a single work. The Backgammon Players takes the ancient form of the Hispano-Moresque vargueño cabinet, a chest, equipped with hidden drawers and recess, mounted on tall legs.
这个展览同时展出罕见而珍贵的应用艺术作品，由Philip Webb设计，Edward Burne-Jones绘制的橱窗，题名为《西洋双陆棋玩家》。它的特别之处使我们想起前拉斐尔派兄弟会的最终轨迹，它的后继者工艺美术运动，横贯传统艺术的各个分支，——和改进绘画、诗歌一样，改进家具、金属制品、陶器，他们经常将一个或多个这样的艺术类型合成在单个作品中。“西洋双陆棋玩家”借鉴于西班牙摩尔式橱窗的古老形式，它是一个配有隐藏的抽屉和暗格，安装在高支架上的箱子。
丁谦
It is prented just next to a twilight scene by Burne-Jones entitled The Love Song, a painting which, in 1878, moved Henry James to compare it to ‘some mellow Giorgione or some richly glowing Titian.’ Burne-Jones was inspired by the 15th-century Venetian painter Carpaccio: this masterwork depicts three figures in an Arthurian idyll, inspired by an old Breton song, ‘Alas, I know a love song/Sad or happy, each in turn.’ The words capture perfectly the art and soul of the entire Pre-Raphaelite Movement, shot through with aesthetic and religious transport, erotic bliss and disappointment.
《西洋双陆棋玩家》被安置在包浆豆腐怎么做好吃Burne-Jones焰火燃放题为《爱之歌》的描述薄暮场景的绘画作品旁
边，爱之歌在1878年，曾感动大海是什么颜色 Henry James将其比作“一如乔尔乔内般醇厚，一如提香般炽热”。 Burne-Jones受到15世纪威尼斯画家卡尔帕乔的一幅巨作的启发，该巨作描绘亚瑟王田园诗中的三个人物，灵感来源于一首古老的布列塔尼歌曲：“啊，我知道一首爱之歌，悲喜更迭。”歌词完美地捕捉了整个前拉斐尔派运动的艺术灵魂，借由美学和宗教的载体，穿透了性爱的极乐与失丧。
The Convalescent, drawn in pastel on paper by the ‘unofficial Pre-Raphaelite’ Ford Madox Brown, underscores the theme of female passivity and a certain access to nerves. It made me think of the line from John Fowles’ tale of the period, The French Lieutenant’s Woman: ‘Her torture was her delight.’
Ford Madox Brown，非正式的前拉斐尔派成员的纸上蜡笔画《初愈者》，强调女性的被动和某种神经质这一主题。这让我想起John Fowles这一时期的小说《法国中尉的女人》中的句子：“她所受之苦使她欢欣。”
Love, languor and laudanum aside, we are invited here to contemplate a rich array of works – some, including many books from Morris’ Kelmscott Press and ones designed by
Aubrey Beardsley, questered in vitrines – that capture a unique flowering of British art. This carefully calibrated exhibition alternates between fine and decorative art, including luminous chargers by William de Morgan, the stained glass panel by Burne-Jones, King David the Poet, and tapestries by Burne-Jones woven at Merton Abbey Tapestry works for Morris & Company.
降压药副作用爱、慵懒，在旁的鸦片，我们被邀请到这里来考察一系列数量繁多的作品，其中一些，包括莫里斯·凯尔姆斯科特出版社的许多著作，以及由奥本·比尔斯利（Aubrey Beardsley）设计的许多书籍，都被封闭在玻璃橱窗里，它们捕捉了独特的英国艺术之花。这些尺度规范化的展品交替出现在美术与装饰艺术之间，包括William de Morgan的发光的浅盘，Burne-Jones的彩色玻璃嵌板，诗人King David，以及由Burne-Jones为Morris＆Company在莫顿修道院 挂毯厂中编织的的挂毯。
Paintings by Simeon Solomon and Dante Gabriel Rostti, notably the watercolour and gouache Lady Lilith of 1867 (a portrait of the latter’s mistress Fanny Cornforth), all summon the quasi-mystical spirit of an age in which making – in all its forms – reached an apotheosis of material infud with spirit.
Simeon Solomon和Dante Gabriel Rostti的绘画，特别是画于1867年的树胶水彩画《莉莉斯夫人》（罗塞蒂的夫人范妮·科夫福斯的肖像），它的所有形式都在呼召一个时期的类似神秘主义的精神，到达了物质注入心灵的顶峰。
‘The Pre-Raphaelite Legacy: British Art and Design’ is at the Metropolitan Muum of Art, New York, until 26 October.
前拉斐尔派遗产：英国艺术和设计在纽约大都会艺术博物馆，10月26日闭幕。
