[转载]Luncheon in the Studio 《画室里的午餐》

Luncheon in the Studio

爱德华·马奈：《画室里的午餐》

（选自《英语世界》2011年第8期）

 

This painting titled Luncheon in the Studio (1868, oil on canvas, 118cm×154cm) was created by the French artist Edouard Manet(1832~1883).

这幅画名为《画室里的午餐》（1868年作，布面油画，118厘米×154厘米），是法国画家爱德华·马奈（1832~1883）的作品。

[2] An individual moment in an average day, figures moving past a table with awkward looking faces and gestures: this is what Edouard Manet used to fill the canvas that would become one of his masterworks, Luncheon in the Studio. The setting is the dining room of the apartment in Boulogne-sur-Mer where Manet spends six weeks in the summer of 1868. The boy wearing a yellow straw-hat in the foreground is Leon Leenhoff (presumed to be Manet’s son), who was born to Suzanne Leenhoff nearly twelve years before she and Manet married in 1863. In this setting, Leon, his body cut off at the knees, seems pressed toward us by the table. The second figure is a cigar-smoking man, the painter Auguste Rousselin, Manet’s friend. The third figure, a woman as the house servant, is a model from Boulogne.

[2] 普通一天中的特殊一刻，人物散布在桌子两边，表情和姿势都有些尴尬——这就是爱德华·马奈在《画室里的午餐》一画中所呈现的，这幅画后来成为他的杰作之一。1868年夏，马奈在滨海布洛涅的公寓住了6周，此画背景就是公寓的餐厅。前景中戴着一顶黄色草帽的男孩是莱昂·莱恩霍夫（据说是马奈的儿子），他的母亲苏珊·莱恩霍夫1863年与马奈结婚时，他快12岁了。画中的莱昂并非全身，只画到了膝盖，看似靠着桌子略向前倾。第二个人物是一个抽着雪茄的男子，那是马奈的朋友、画家奥古斯特·鲁斯兰。第三个人是一个女佣，她是布洛涅的一个模特。

[3] In this painting, all Manet's favorite themes recur. The black cat from Olympia, the half-peeled lemon, the knife placed diagonally to indicate the perspective, the plant in the Japanese pot.

[3] 在这幅画中，马奈所喜爱的主题都得到重现：《奥林匹亚》中的那只黑猫，剥了一半的柠檬，斜搁以示透视效果的那把餐刀，日式花盆中的那株植物。

[4] The painting was presented in the prestigious Paris Salon in 1869. This image of relaxation that lacked the embellishment and so called reality of the Realist movement had never before been seen by the French public. It received rather mixed reviews but was not largely rejected. This early work would later lead to what became known as Impressionism.

[4] 1869年，此画在颇负盛名的巴黎沙龙展出。画面没有什么修饰，也没有现实主义运动所谓的真实性，这种放松的形象是法国观众以前从未看到过的。对这幅画的评论褒贬不一，但大多并不排斥。马奈早期的这幅作品开启了后来众所周知的印象主义。

[5] Many painters who longed to see an evolution in the world of art were drawn to Manet and began to build on his techniques, fascinated by his depictions of the human face and other forms. One of his more well known followers was Claude Monet who spearheaded the Impressionist movement and even painted a portrait of Manet out of respect for what the artist had accomplished.

[5] 马奈吸引了很多渴望美术界发生变革的画家，他们开始采用马奈的绘画技法，着迷于他对人脸和其他形体的描绘。多位有名的画家成为他的追随者，克劳德·莫奈就是其中之一。莫奈是印象派运动的领军人物，他还为马奈画过一幅肖像，以此向马奈的突出成就表达敬意。

[6] While Manet’s art lead the way to Impressionism he never made a full transition to the artistic style and retained, for the most part, a sense of realism in much of his representations. However, with the influence Manet had on such artists as Claude Monet, Pierre-Auguste Renoir, Edgar Dégas, Georges Seurat, and eventually Vincent van Gogh and Paul Gauguin, he has proved to establish himself as one of the greats among a long list of greats leading from Realism to Impressionism.

[6] 尽管马奈的绘画为印象主义指引了道路，但他本人从未彻底转变为印象派画家，他的大部分作品在很大程度上依然保留着现实主义的格调。然而，马奈对克劳德·莫奈、皮埃尔-奥古斯特·雷诺阿、埃德加·德加、乔治·修拉，乃至文森特·凡高和保罗·高更等画家影响颇大，由此确立了自己的地位，成为引领现实主义向印象主义迈进的众多大师之一。