Books and Arts;Artists and photographers;Point and paint文藝;書(shū)評(píng);藝術(shù)家和攝影師;瞬間與永恒;　　A long overdue study of the influence early photography had on painting;早期攝影對(duì)繪畫(huà)的影響，一項(xiàng)遲來(lái)的研究;　　I have all my subjects to hand, Pierre Bonnard, a French post-impressionist painter, once wrote. I go to see them. I take notes. Then I go home. And before I start painting I reflect, I dream. At the turn of the 19th century, the notes Bonnard made included snapshots that he took with his flexible hand-held Kodak camera, which had first been introduced in 1888.　　我手頭上有全部素材，法國(guó)后印象主義畫(huà)家皮埃爾波納爾曾經(jīng)寫(xiě)道。我去采風(fēng)。做記錄。然后回到家。開(kāi)始作畫(huà)前我會(huì)在腦中回想，讓思緒放飛。在19世紀(jì)之交，柯達(dá)推出第一臺(tái)相機(jī)，這里波納爾所說(shuō)的記錄就包括用輕巧便攜的柯達(dá)相機(jī)拍的快照。　　Unhampered by hefty equipment or long exposures, Bonnard and his fellow painters from the Nabi group, Edouard Vuillard and Flix Vallotton, were among the first artists to use the camera toobserve fine details, perspectives and light effects too fleeting to see with the naked eye. Apainstakingly curated new show juxtaposes 220 mostly unpublished vintage snapshots by seven fin-de-sicle artists along with their paintings, prints and drawings in an effort todemonstrate how this new way of seeing inspired and expanded the painters creative vision.　　不受笨重機(jī)器的束縛，不用拍長(zhǎng)曝光的照片，波納爾和其他兩位納比派畫(huà)家愛(ài)德華維亞爾和菲利克斯瓦洛通，首開(kāi)先河利用照相機(jī)觀察景物的細(xì)枝末節(jié)、透視圖像和光影效果，這些轉(zhuǎn)瞬即逝的景象很難用肉眼觀察。最近一個(gè)新的作品展展出了由7位世紀(jì)末藝術(shù)家拍攝的220幅老式照片，同時(shí)展出的還有他們的油畫(huà)、印刷品和素描作品。此次展覽的舉辦頗費(fèi)周折，目的在于向人們展示這種全新的觀察方法如何激發(fā)和拓寬了畫(huà)家的創(chuàng)作視角。　　Henri Rivire, a French printmaker and designer, climbed the soaring Eiffel Tower before it was completed in 1889 to photograph the exhilarating lines and angles of its iron girders set against the Paris sky for a series of 36 lithographs. Vuillard and a gifted, yet little-known, Belgian painter named Henri Evenepoel used the camera as a sketch book and aide-mmoire tocapture everyday moments with family and friends. Bonnard in turn photographed his slender, round-faced mistress and muse, Marthe de Mligny, naked in a glade, as inspiration for his illustrations of Daphnis and Chlo by a second-century Greek novelist and romancer, Longus.　　亨利里維埃，法國(guó)版畫(huà)家和設(shè)計(jì)師，為了完成由36個(gè)石版畫(huà)組成的一系列作品，曾爬上還未竣工的高聳的艾菲爾鐵塔，拍攝下了以巴黎的天空為背景，鐵塔的鋼筋鐵架縱橫交錯(cuò)構(gòu)成的振奮人心的畫(huà)面。維亞爾和另一位才華橫溢但名不見(jiàn)經(jīng)傳的比利時(shí)畫(huà)家亨利埃費(fèi)內(nèi)普爾把照相機(jī)當(dāng)作素描本和備忘錄，用以撲捉和家人朋友的日常生活瞬間。而波納爾拍攝的則是他那身材苗條臉盤(pán)很圓的情婦，以及他靈感的源泉瑪莎Mligny在樹(shù)林中一絲不掛的照片。他在給公元2世紀(jì)希臘傳奇小說(shuō)家隆古斯的小說(shuō)《達(dá)佛涅斯和克洛伊》做插圖時(shí)，靈感就來(lái)自這些照片。　　Neither Vuillard nor Bonnard, with whom he shared a studio, actually copied photographs in their resonant, small-scale paintings of domestic interiors. Instead, both tried to replicatethe immediacy of snapshots often catching their subjects mid-gesture. Using his photographs only as an occasional reference point, or toreflect a mood, Vuillard recomposed his subjects at will. At Table, Lunch and In Front of theTapestry: Misia and Thade Natanson both show abbreviated figures, whether absorbed in eating a meal, or with their backs to the viewer. Vuillards figures, who are almost swallowed up by the vibrant decor, have an apparitional quality that appealed to the 20th-century Frenchphotographer, Henri Cartier-Bresson, who described Vuillard and Bonnard as among the artists he most admired.　　波納爾和維亞爾共用一個(gè)畫(huà)室，兩人的小幅裝飾畫(huà)均有一定反響，但實(shí)際上這些畫(huà)并非選自他們拍攝的照片。他們想要嘗試的是重現(xiàn)快照中被瞬間定格的運(yùn)動(dòng)中的人物。對(duì)于維亞爾來(lái)說(shuō)照片僅是一種臨時(shí)的參考或某種情感的反應(yīng)，他會(huì)隨心所欲地對(duì)主題進(jìn)行重塑。《餐桌邊的午餐》和《在掛毯前：米西亞和塔德納坦松》呈現(xiàn)的都是縮影式的人物，或是在全神貫注的用餐，或是背對(duì)著觀眾。維亞爾畫(huà)中的人物幾乎會(huì)被色彩鮮明的畫(huà)面所淹沒(méi)，有種若隱若現(xiàn)的效果。20世紀(jì)法國(guó)攝影師亨利卡帝爾布烈松對(duì)這種畫(huà)風(fēng)極為欣賞，他把維亞爾和波納爾視為偶像。　　A Dutch painter, George Hendrik Breitner, also seizes a moment in time in a bustlingAmsterdam street scene that is dominated by a veiled figure holding a fur muff up to her face, looking blurred and fugitive, as in real life. Now acknowledged as a gifted photographer in his own right, Breitner used his camera for Girl in Red Kimono . This precise yet atmospheric re-creation of his snapshot of a girl curled up on a divan, shows her intricately patterned kimono in sharp contrast with thedesign of the Persian carpet at her feet.　　與此同時(shí)，荷蘭畫(huà)家喬治亨德里克布賴特納也抓住時(shí)機(jī)記錄下來(lái)阿姆斯特丹川流不息的街景，畫(huà)面突顯了一位頭戴面紗的女子，身上包裹著毛皮披肩，只露出臉，神情隱約難辨，整幅畫(huà)作看起來(lái)非常逼真。布賴特納憑借自己的努力被公認(rèn)為天才攝影師，他利用相機(jī)繪制出《穿紅色和服的女子》。照片中的女孩蜷曲在沙發(fā)上，身上的和服花紋精致復(fù)雜，與腳下的波斯地毯的圖案對(duì)比鮮明，布賴特納根據(jù)這張照片進(jìn)行的再創(chuàng)作描繪精確，完美的再現(xiàn)了原照的氛圍。　　Unlike their official work, none of this exhibitions seven artists ever intended their photographs to go on public display. Photography, for them, was a mechanical process rather than an art form. Some of the images come from the attics and albums of the artists families; Rivires photographs, now at the Muse dOrsay, were catalogued only in 1988. Vallotton, who left just 20 images, compared with 2,000 left by Vuillard, may even have destroyed theevidence following accusations that he copied a central figure from a photograph published in a French magazine in 1908. Snapshot studies for two of his paintings, Beach at Etretat and aportrait of his wife entitled Red Room, Etretat, show how he worked from photographs, eliminating extraneous details and grey shadows. He used this pared-down style to create powerful groups of figures or psychological portraits.　　此次展覽涉及的7位藝術(shù)家從未打算把這些照片作為正式作品公布于眾。對(duì)于他們來(lái)說(shuō)攝影只是一個(gè)機(jī)械加工過(guò)程，并非藝術(shù)。許多圖片是他們的家人從閣樓上或是影集里找到的。里維爾拍攝的照片現(xiàn)在展覽于奧賽博物館，但也只是在1988年才被收入博物館。而瓦洛東僅留下20幅圖片，相比維亞爾的2000幅照片，他的數(shù)量就少多了。他曾被指責(zé)抄襲了1908年出版的一本法國(guó)雜志里的照片照片中的一個(gè)主要人物，但如今從這些少量留存的照片中已找不到任何證據(jù)。瓦洛東有兩幅畫(huà)作，《埃特爾塔的沙灘》以及他為妻子畫(huà)的題為《紅色房間，埃特爾塔》的肖像畫(huà)，對(duì)照相片進(jìn)行研究，可以發(fā)現(xiàn)他如何利用照片學(xué)習(xí)去除冗余的細(xì)節(jié)和不必要的陰影。采用這種簡(jiǎn)潔的風(fēng)格瓦洛東創(chuàng)作出很多場(chǎng)面宏大的畫(huà)作以及心理肖像描寫(xiě)。　　Vallotton and Vuillard liked to exchange photographs. Evenepoel, a pupil of Gustave Moreau who took almost 900 photographs, including a series of searching self-portraits, in the two years before he died of typhoid aged 27, described his camera as a real gem. A photograph of his hesitant family about to cross the Place de la Concorde recalls Edgar Degass famousportrait of Vicomte Lepic and his daughters, while images of his cousin Louise de Mey and their son Charles embody the emotion he invested in his portraits.　　瓦洛東和維亞爾喜歡交換照片。另一位藝術(shù)家埃費(fèi)內(nèi)普爾，師從古斯塔夫莫羅，在短短2年間拍攝了近900幅照片，包括一系列探索式的自畫(huà)像，但他隨后不幸死于傷寒，年僅27歲。他曾描述他的相機(jī)是真正的寶物。埃費(fèi)內(nèi)普爾有一張照片記錄了他的家人躑躅著準(zhǔn)備穿過(guò)協(xié)和廣場(chǎng)，這張照片讓人想起埃德加德加著名的肖像畫(huà)《會(huì)計(jì)師和女兒們》。另一張畫(huà)像描繪了他的表姐路易絲梅伊和兒子查爾斯，畫(huà)面體現(xiàn)出他作畫(huà)時(shí)的情感投入。　　I savour them all [my snapshots] with the slightly sad joy of reflecting that all this good time is past, Evenepoel wrote to his father in 1897. These images, like most in the exhibition, are startlingly small. But close inspection reveals a finely detailed portrait of how this group of artists lived and worked, and it conveys the real sense of the excitement they felt as they experimented with their seemingly miraculous new gadget.　　我細(xì)細(xì)地品味它們，但一想到照片中美好的時(shí)光都已逝去，喜悅中不免略帶感傷，1897年埃費(fèi)內(nèi)普爾在寫(xiě)給父親的信中說(shuō)到。這些圖片和其他展出的作品一樣畫(huà)幅都非常小。但經(jīng)過(guò)細(xì)細(xì)觀察，這些藝術(shù)家生活和工作的細(xì)節(jié)便詳盡地呈現(xiàn)在眼前，同時(shí)藝術(shù)家們?cè)谟眠@個(gè)看似不可思議的新型小玩意兒做嘗試時(shí)的喜悅和興奮也流露無(wú)余。　　Snapshot: Painters and Photography 1888-1915 is at the Van Gogh Museum, Amsterdam, until January 8th 2023. It will be displayed at the Phillips Collection in Washington, DC, from February 4th until May 6th and at the Indianapolis Museum of Art from June 3rd until September 2nd.　　照片：畫(huà)家與攝影師 1888-1915在阿姆斯特丹梵高博物館展出，結(jié)束日期2023年1月8日。該展覽還將于2月4日至5月6日在華盛頓菲利普斯陳列館展出，6月3日至9月2日在印第安納波利斯藝術(shù)博物館展出。　　

　　Books and Arts;Artists and photographers;Point and paint文藝;書(shū)評(píng);藝術(shù)家和攝影師;瞬間與永恒;　　A long overdue study of the influence early photography had on painting;早期攝影對(duì)繪畫(huà)的影響，一項(xiàng)遲來(lái)的研究;　　I have all my subjects to hand, Pierre Bonnard, a French post-impressionist painter, once wrote. I go to see them. I take notes. Then I go home. And before I start painting I reflect, I dream. At the turn of the 19th century, the notes Bonnard made included snapshots that he took with his flexible hand-held Kodak camera, which had first been introduced in 1888.　　我手頭上有全部素材，法國(guó)后印象主義畫(huà)家皮埃爾波納爾曾經(jīng)寫(xiě)道。我去采風(fēng)。做記錄。然后回到家。開(kāi)始作畫(huà)前我會(huì)在腦中回想，讓思緒放飛。在19世紀(jì)之交，柯達(dá)推出第一臺(tái)相機(jī)，這里波納爾所說(shuō)的記錄就包括用輕巧便攜的柯達(dá)相機(jī)拍的快照。　　Unhampered by hefty equipment or long exposures, Bonnard and his fellow painters from the Nabi group, Edouard Vuillard and Flix Vallotton, were among the first artists to use the camera toobserve fine details, perspectives and light effects too fleeting to see with the naked eye. Apainstakingly curated new show juxtaposes 220 mostly unpublished vintage snapshots by seven fin-de-sicle artists along with their paintings, prints and drawings in an effort todemonstrate how this new way of seeing inspired and expanded the painters creative vision.　　不受笨重機(jī)器的束縛，不用拍長(zhǎng)曝光的照片，波納爾和其他兩位納比派畫(huà)家愛(ài)德華維亞爾和菲利克斯瓦洛通，首開(kāi)先河利用照相機(jī)觀察景物的細(xì)枝末節(jié)、透視圖像和光影效果，這些轉(zhuǎn)瞬即逝的景象很難用肉眼觀察。最近一個(gè)新的作品展展出了由7位世紀(jì)末藝術(shù)家拍攝的220幅老式照片，同時(shí)展出的還有他們的油畫(huà)、印刷品和素描作品。此次展覽的舉辦頗費(fèi)周折，目的在于向人們展示這種全新的觀察方法如何激發(fā)和拓寬了畫(huà)家的創(chuàng)作視角。　　Henri Rivire, a French printmaker and designer, climbed the soaring Eiffel Tower before it was completed in 1889 to photograph the exhilarating lines and angles of its iron girders set against the Paris sky for a series of 36 lithographs. Vuillard and a gifted, yet little-known, Belgian painter named Henri Evenepoel used the camera as a sketch book and aide-mmoire tocapture everyday moments with family and friends. Bonnard in turn photographed his slender, round-faced mistress and muse, Marthe de Mligny, naked in a glade, as inspiration for his illustrations of Daphnis and Chlo by a second-century Greek novelist and romancer, Longus.　　亨利里維埃，法國(guó)版畫(huà)家和設(shè)計(jì)師，為了完成由36個(gè)石版畫(huà)組成的一系列作品，曾爬上還未竣工的高聳的艾菲爾鐵塔，拍攝下了以巴黎的天空為背景，鐵塔的鋼筋鐵架縱橫交錯(cuò)構(gòu)成的振奮人心的畫(huà)面。維亞爾和另一位才華橫溢但名不見(jiàn)經(jīng)傳的比利時(shí)畫(huà)家亨利埃費(fèi)內(nèi)普爾把照相機(jī)當(dāng)作素描本和備忘錄，用以撲捉和家人朋友的日常生活瞬間。而波納爾拍攝的則是他那身材苗條臉盤(pán)很圓的情婦，以及他靈感的源泉瑪莎Mligny在樹(shù)林中一絲不掛的照片。他在給公元2世紀(jì)希臘傳奇小說(shuō)家隆古斯的小說(shuō)《達(dá)佛涅斯和克洛伊》做插圖時(shí)，靈感就來(lái)自這些照片。　　Neither Vuillard nor Bonnard, with whom he shared a studio, actually copied photographs in their resonant, small-scale paintings of domestic interiors. Instead, both tried to replicatethe immediacy of snapshots often catching their subjects mid-gesture. Using his photographs only as an occasional reference point, or toreflect a mood, Vuillard recomposed his subjects at will. At Table, Lunch and In Front of theTapestry: Misia and Thade Natanson both show abbreviated figures, whether absorbed in eating a meal, or with their backs to the viewer. Vuillards figures, who are almost swallowed up by the vibrant decor, have an apparitional quality that appealed to the 20th-century Frenchphotographer, Henri Cartier-Bresson, who described Vuillard and Bonnard as among the artists he most admired.　　波納爾和維亞爾共用一個(gè)畫(huà)室，兩人的小幅裝飾畫(huà)均有一定反響，但實(shí)際上這些畫(huà)并非選自他們拍攝的照片。他們想要嘗試的是重現(xiàn)快照中被瞬間定格的運(yùn)動(dòng)中的人物。對(duì)于維亞爾來(lái)說(shuō)照片僅是一種臨時(shí)的參考或某種情感的反應(yīng)，他會(huì)隨心所欲地對(duì)主題進(jìn)行重塑。《餐桌邊的午餐》和《在掛毯前：米西亞和塔德納坦松》呈現(xiàn)的都是縮影式的人物，或是在全神貫注的用餐，或是背對(duì)著觀眾。維亞爾畫(huà)中的人物幾乎會(huì)被色彩鮮明的畫(huà)面所淹沒(méi)，有種若隱若現(xiàn)的效果。20世紀(jì)法國(guó)攝影師亨利卡帝爾布烈松對(duì)這種畫(huà)風(fēng)極為欣賞，他把維亞爾和波納爾視為偶像。　　A Dutch painter, George Hendrik Breitner, also seizes a moment in time in a bustlingAmsterdam street scene that is dominated by a veiled figure holding a fur muff up to her face, looking blurred and fugitive, as in real life. Now acknowledged as a gifted photographer in his own right, Breitner used his camera for Girl in Red Kimono . This precise yet atmospheric re-creation of his snapshot of a girl curled up on a divan, shows her intricately patterned kimono in sharp contrast with thedesign of the Persian carpet at her feet.　　與此同時(shí)，荷蘭畫(huà)家喬治亨德里克布賴特納也抓住時(shí)機(jī)記錄下來(lái)阿姆斯特丹川流不息的街景，畫(huà)面突顯了一位頭戴面紗的女子，身上包裹著毛皮披肩，只露出臉，神情隱約難辨，整幅畫(huà)作看起來(lái)非常逼真。布賴特納憑借自己的努力被公認(rèn)為天才攝影師，他利用相機(jī)繪制出《穿紅色和服的女子》。照片中的女孩蜷曲在沙發(fā)上，身上的和服花紋精致復(fù)雜，與腳下的波斯地毯的圖案對(duì)比鮮明，布賴特納根據(jù)這張照片進(jìn)行的再創(chuàng)作描繪精確，完美的再現(xiàn)了原照的氛圍。　　Unlike their official work, none of this exhibitions seven artists ever intended their photographs to go on public display. Photography, for them, was a mechanical process rather than an art form. Some of the images come from the attics and albums of the artists families; Rivires photographs, now at the Muse dOrsay, were catalogued only in 1988. Vallotton, who left just 20 images, compared with 2,000 left by Vuillard, may even have destroyed theevidence following accusations that he copied a central figure from a photograph published in a French magazine in 1908. Snapshot studies for two of his paintings, Beach at Etretat and aportrait of his wife entitled Red Room, Etretat, show how he worked from photographs, eliminating extraneous details and grey shadows. He used this pared-down style to create powerful groups of figures or psychological portraits.　　此次展覽涉及的7位藝術(shù)家從未打算把這些照片作為正式作品公布于眾。對(duì)于他們來(lái)說(shuō)攝影只是一個(gè)機(jī)械加工過(guò)程，并非藝術(shù)。許多圖片是他們的家人從閣樓上或是影集里找到的。里維爾拍攝的照片現(xiàn)在展覽于奧賽博物館，但也只是在1988年才被收入博物館。而瓦洛東僅留下20幅圖片，相比維亞爾的2000幅照片，他的數(shù)量就少多了。他曾被指責(zé)抄襲了1908年出版的一本法國(guó)雜志里的照片照片中的一個(gè)主要人物，但如今從這些少量留存的照片中已找不到任何證據(jù)。瓦洛東有兩幅畫(huà)作，《埃特爾塔的沙灘》以及他為妻子畫(huà)的題為《紅色房間，埃特爾塔》的肖像畫(huà)，對(duì)照相片進(jìn)行研究，可以發(fā)現(xiàn)他如何利用照片學(xué)習(xí)去除冗余的細(xì)節(jié)和不必要的陰影。采用這種簡(jiǎn)潔的風(fēng)格瓦洛東創(chuàng)作出很多場(chǎng)面宏大的畫(huà)作以及心理肖像描寫(xiě)。　　Vallotton and Vuillard liked to exchange photographs. Evenepoel, a pupil of Gustave Moreau who took almost 900 photographs, including a series of searching self-portraits, in the two years before he died of typhoid aged 27, described his camera as a real gem. A photograph of his hesitant family about to cross the Place de la Concorde recalls Edgar Degass famousportrait of Vicomte Lepic and his daughters, while images of his cousin Louise de Mey and their son Charles embody the emotion he invested in his portraits.　　瓦洛東和維亞爾喜歡交換照片。另一位藝術(shù)家埃費(fèi)內(nèi)普爾，師從古斯塔夫莫羅，在短短2年間拍攝了近900幅照片，包括一系列探索式的自畫(huà)像，但他隨后不幸死于傷寒，年僅27歲。他曾描述他的相機(jī)是真正的寶物。埃費(fèi)內(nèi)普爾有一張照片記錄了他的家人躑躅著準(zhǔn)備穿過(guò)協(xié)和廣場(chǎng)，這張照片讓人想起埃德加德加著名的肖像畫(huà)《會(huì)計(jì)師和女兒們》。另一張畫(huà)像描繪了他的表姐路易絲梅伊和兒子查爾斯，畫(huà)面體現(xiàn)出他作畫(huà)時(shí)的情感投入。　　I savour them all [my snapshots] with the slightly sad joy of reflecting that all this good time is past, Evenepoel wrote to his father in 1897. These images, like most in the exhibition, are startlingly small. But close inspection reveals a finely detailed portrait of how this group of artists lived and worked, and it conveys the real sense of the excitement they felt as they experimented with their seemingly miraculous new gadget.　　我細(xì)細(xì)地品味它們，但一想到照片中美好的時(shí)光都已逝去，喜悅中不免略帶感傷，1897年埃費(fèi)內(nèi)普爾在寫(xiě)給父親的信中說(shuō)到。這些圖片和其他展出的作品一樣畫(huà)幅都非常小。但經(jīng)過(guò)細(xì)細(xì)觀察，這些藝術(shù)家生活和工作的細(xì)節(jié)便詳盡地呈現(xiàn)在眼前，同時(shí)藝術(shù)家們?cè)谟眠@個(gè)看似不可思議的新型小玩意兒做嘗試時(shí)的喜悅和興奮也流露無(wú)余。　　Snapshot: Painters and Photography 1888-1915 is at the Van Gogh Museum, Amsterdam, until January 8th 2023. It will be displayed at the Phillips Collection in Washington, DC, from February 4th until May 6th and at the Indianapolis Museum of Art from June 3rd until September 2nd.　　照片：畫(huà)家與攝影師 1888-1915在阿姆斯特丹梵高博物館展出，結(jié)束日期2023年1月8日。該展覽還將于2月4日至5月6日在華盛頓菲利普斯陳列館展出，6月3日至9月2日在印第安納波利斯藝術(shù)博物館展出。