后印象主义绘画（中英双语）
POST-IMPRESSIONISM,SYMBOLISM,AND ART
NOUVEAU
后印象主义、象征主义和新艺术PAINTING Post-Impressionism绘画后印象主义
In1882,just before his death,Manet was made a chevalier of the Legion of Honor by the French government.This event marks the turn of the tide: Impressionism had gained wide acceptance among artists and the public—but by the same token it was no longer a pioneering movement.When the Impressionists held their last group show four years later,the future already belonged to the “Post-Impressionists.”Taken literally,this colorless label applies to all painter of significance in the1880s and1890s.In a more specific n,it designates a group of artists who pasd through an Impressionist pha but became dissatisfied with the limitations of the style and pursued a variety of directions.Becau they did not share one common goal,we have no more descriptive term for them than Post-Impressionists.In any event,they were not“anti-Impressionist.”Far from trying to undo the effects of the“Manet Revolution,”they wanted to carry it further.Thus Post-Impressionism is in esnce just a later stage, though a very important one,of the development that had begun in the1860s with suc
h pictures as Manet’s Luncbeon on the Grass.
1882年，就在马奈去世之前，他被法国政府授予“荣誉团勋章”。这⼀事件标志着潮流的更迭：印象主义已经被艺术家和公众⼴泛接受——但同时它已不再是⼀个具有开创性的运动。四年之后，当印象派艺术家举办最后的联展时，未来已经属于“后印象派”。从字⾯上讲，这⼀苍⽩的标签适⽤于19世纪80⾄90年代所有重要的画家。具体地说，它指向⼀群经历了印象派时期但⼜对印象派的局限性感到不满⽽追求不同风格的艺术家。因为他们没有⼀个共同的⽬标，所以我们只好⽤“后印象派”来描述他们。不过，他们不是“反印象派”。他们完全没有想过去消除“马奈⾰命”带来的影响，⽽是要使之传扬下去。因此后印象主义在本质只是⼀个时间稍后的阶段，但也是很重要的⼀个阶段。它始于19世纪60年代，早期作品如马奈的《草地上的午餐》。
CEZANNE.
Paul Cezanne(1839-1906),the oldest of the
Post-Impressionists,was born in Aix-en-Provence, near the Mediterranean coast,where he formed a clo friendship with the writer Emile Zola,later a champion of the Impressionists.A man of intenly emotional temperament,he came to Paris
in1861imbued with enthusiasm for the Romantics.Delacroix was his first love among painters,and he never lost his admiration for him.Cezanne,however,quickly grasped the nature of the"Manet Revolution,"but utterly transformed it.
A Modern Olympia(fig.983)was painted in respon to an Olympica by Manet featuring a prostitute who frank nakedness scandalized the art world.As in Luncheon on the Grass,executed by Manet the same year as the Olympia,Cezanne's nude is in the company of a man wearing contemporary garb;his features are plainly tho of Cezanne himlf(e fig.984).Like many of his early works,A Modern Olympia is
塞尚.
保罗?塞尚(1839-1906)，最早的后印象派画家,⽣于普罗旺斯地区艾克斯。在这个靠近地中海海岸的城市，他与作家埃⽶尔?左拉（后来成为拥护印象派的⼈）建⽴了亲密的友谊。塞尚是⼀个极度感性的⼈,1861年他来到了巴黎，满⼼向往浪漫主义。德拉克洛⽡是塞尚最初喜爱的画家，此⼈⼀直令他很钦佩。然⽽，塞尚很快抓住了“马奈⾰命”的本质，但⼜彻底改变了它。《现代奥林匹亚》(图983)的创作是对马奈的《奥林匹亚》作出的响应。马奈以妓⼥为题材，画中⼥⼦毫不掩饰的裸体使艺术界蒙羞。在创作《奥林匹亚》的同⼀年，马奈创作了《草地上的午餐》。和《草地上的午餐》⼀样，塞尚画中的裸⼥旁边陪着⼀个男⼈，⾝着当代的服饰；他的体貌特征显然是塞尚⾃⼰的
xually charged,albeit in a curiously ambivalent way that suggests why he never formed a durable relationship.While the tting is a boudoir,the picture is one of the first to treat what was to become one of the recurring themes in modern art:the artist and his model,a subject often fraught with erotic overtones. He sits in mute adoration of the young woman,who sumptuous surroundings suggest that she is indeed a modern goddess.Yet the juxtaposition of the two figures is strange indeed.Although parated in space, they are placed so near each other on the picture plane that she ems almost to recoil from his dark prence! Equally disturbing is the brushwork,which communicates the turbulent passion represd by the emingly impassive artist.Never before have we en such brusqueness,not even in Cezanne's ideal, Delacroix.The subtitle The Pasha pays homage to the Orientalism of Delacroix,who Odalisque(fig.889) nevertheless has a nsuousness abnt from Cezanne's Olympia.This artist-as-potentate can admire,but not posss,his"harem girl."(见图984)。跟他的许多早期作品⼀样,《现代奥林匹亚》充斥着⾊情，但⼜以⼀种异常飘忽的⽅式暗⽰他为什么从来不和⼥⼈长久保持关系。画中背景是⼀个闺房,⽽此画则是最早以“画家和他的模特”为题的作品之⼀。此后，这⼀主题在现代艺术中反复出现，常常充斥着⾊情的意味。画中男⼦端坐着，静静地欣赏年轻的⼥⼦，其奢华的环境表明，她的确是⼀个摩登⼥神。然⽽，两个⼈物的位置关系却很奇怪。虽然在空间上是分开的，但在投影⾯上他们靠得很近，看上去她⼏乎被他的⿊影掩盖了。同样困扰⼈们的还有其画法，因为它既传达出⼀种狂躁的情欲，却⼜被这个看似冷漠的画家压制着。此前我们从未见过这般“⽆厘头”，即使在塞
尚崇拜的画家德拉克洛⽡的画中也没见过。副标题《帕夏》是向德拉克洛⽡的东⽅主义致以崇⾼的敬意。然⽽，德拉克洛⽡的《⼤宫⼥》(图889)具有⼀种感性，这在塞尚的《奥林匹亚》中却不存在。这个“主宰⼀切”的画家能欣赏他的“后宫嫔妃”，但却不能拥有她。
After passing through this Neo-Baroque pha, Cezanne began to paint bright outdoor scenes with Pissarro,but he never shared his fellow Impressionists' interest in"slice-of-life"subjects,in movement and change.About1879,when he painted the Self-Portrait in figure984,he had decided"to make of Impressionism something solid and durable,like the art of the muums."His Romantic impulsiveness of the1860s has now given way to a patient,disciplined arch for harmony of form and color.Every brushstroke is like a building block,firmly placed within the pictorial architecture,which creates a subtle balance of"two-D"and"three-D."(Note how the pattern of wallpaper in the background frames the rounded shape of the head.)The colors,too,are deliberately controlled so as to produce"chords"of warm and cool tones that reverberate throughout the canvas.
经历了新巴洛克阶段之后，塞尚和毕沙罗开始画起了明亮的户外景观。同时期的印象派画家的兴趣在于“反映现实”的题材，在于运动与变化，但是塞尚的却⼤不⼀样。1879年前后，他创作了《⾃画像》（图984），他已经决定“赋予印象主义⼀种坚固耐久的品质，使之堪⽐博物馆⾥⾯的艺术品”。19世纪60年代他曾经对现实主义产⽣冲动，如今他抛掉了冲动，转⽽耐⼼专注地追求形式和颜⾊的和谐统⼀。
（在此油画中），每⼀次落笔，就像⼀块建筑材料，牢牢地嵌⼊那幢画卷般的建筑物之中，使得“⼆维”和“三维”巧妙地平衡起来。（注意观察背景中的壁纸图案如何衬出头部的圆形）同时，颜⾊的掌控别具匠⼼，以⾄于冷暖⾊调如琴弦⼀般，在油画上跳跃起来。
In Cezanne's still lifes,such as Still Life with Apples (fig.985),this quest for the"solid and durable"can be en even more clearly.Not since Chardin have simple
在塞尚的静物画中，例如《苹果静物》（图985），这种对于“坚固⽽耐
久”的追求更加清晰可见。⾃从夏尔丹
everyday objects assumed such importance in a painter's eye.Again the ornamental backdrop is integrated with the three-dimensional shapes,and the brushstrokes have a rhythmic pattern that gives the canvas its shimmering texture.We also notice aspects of Cezanne's mature style that are more conspicuous here than in the Self-Portrait and may puzzle us at first.The forms are deliberately simplified and outlined with dark contours,and the perspective is "incorrect"for both the fruit bowl and the horizontal surfaces,which em to tilt upward.The longer we study the picture,the more we realize the Tightness of the apparently arbitrary distortions.When Cezanne took the liberties with reality,his purpo was to uncover the permanent qualities beneath the accidents of appearance.All forms in nature,he believed,are bad on the cone,the sphere,and the cylinder.This order underlying the external world was the true subject of his pictures,but he had to interpret it
to fit the parate,clod world of the canvas.（去世）之后，简单的⽇常物品再也没有得到画家的青睐。（在此画中）同样可
以看出，装饰性的背景被融⼊三维图形中，⽽画家的次次落笔富有韵律，给油画增添了⼀抹亮彩。我们同时也注意到，在此画中，塞尚成熟画风的⽅⽅⾯⾯均⽐《⾃画像》中的更明显，这起初也许会让
⼈感到不解。静物的外形被刻意简化，仅仅勾勒出模糊的轮廓，且其视⾓对于果盘和⽔平⾯都是错误的，因为它们似乎向上倾斜了。我们对此画研究越久，就越能体会到这些表明看来随意的扭曲是合理。当塞尚随⼼所欲地描绘现实时，他的⽬的是为了揭⽰那些表⾯上偶然的事件背后永恒的品质。他认为，⾃然界中的所有形状都是以圆锥、球形和圆柱为基础的。这⼀个奠定了外部世界的规则是他绘画的真正主题。但他需要阐述⼀番，使之融⼊那⽚孤⽴⽽封闭的油画天地。
To apply this method to landscape became the greatest challenge of Cezanne's career.From1882on, he lived in isolation near his hometown of
Aix-en-Provence,exploring its environs as Claude Lorraine and Corot had explored the Roman countryside.One feature,the distinctive shape of a mountain called Mont Sainte-Victoire,emed almost to obss him.Its craggy profile looming against the blue Mediterranean sky appears in a long ries of compositions,such as the monumental late work in figure986.There are no hints of human prence here---hous and roads would only disturb the lonely grandeur of this view.Above the wall of rocky cliffs that bar our way like a chain of fortifications,the mountain ris in triumphant clarity,infinitely remote yet as solid and palpable as the shapes in the foreground.For all its architectural stability,the scene is alive with movement;but the forces at work here have been brought into equilibrium,subdued by the greater power of the artist's will.This disciplined
energy,distilled from the trials of a stormy youth, gives the mature style of Cezanne its enduring strength.
将这种⽅法应⽤于风景画成为塞尚绘画⽣涯的最⼤挑战。从1882年起，他在家乡——普罗旺斯地区的埃克斯附近离群索居，像克劳德?洛林和卡洛特探索罗马⽥园风光⼀样探索当地风景。其中⼀个景物—⼀座名叫圣维多利亚⼭的独特外形，似乎让塞尚深深着迷了。它的峭壁在蓝⾊的地中海天空的映衬下隐约可见，出现在他的⼀系列作品，例如后期创作的那幅杰作（图986）。画中没有⼈类的迹象；如果有房屋和道路，那将破坏这⼀壮丽⽆⽐的景象。陡峭的⽯壁像⼀道防御链阻挡了我们的去路，⽯壁之上是⼭峰，⾼傲挺拔，遥不可及，却⼜像近景中的形物⼀样，让⼈感觉到它的真实存在。尽管画作具有建筑意义的稳定性，但画⾯却充满了动态感；⽽在画家更强⼤的意志⼒的控制之下，各种动态⼒量⼜得到了平衡。这
种能量是在青年时期不畏打击⼏经尝试提炼⽽来，⽽今已收放⾃如，使塞尚成熟的风格具有恒久的⼒量。
VAN GOGH.
While Cezanne and Seurat were converting
⽂森特·梵⾼。当塞尚和修拉将印象主义变成⼀种更严肃、古典的风格之
Impressionism into a more vere,classical style, Vincent Van Gogh(1853-1890)pursued the opposite direction.He believed that Impressionism did not provide the artist with enough freedom to express his emotions.Since this was his main concern,he is sometimes called an Expressionist,although the term ought to be rerved for certain later painters.Van
Gogh,the first great Dutch master since the venteenth century,did not become an artist until 1880;as he died only ten years
