【大师课】顶级审美与纯正英语！希腊战神为何穿女装？英国美术馆
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:00 | Beautiful pink dress, gorgeous golden locks, brandishing a sword. | 美丽的粉红色裙子 华丽的金锁 挥舞着一把剑 |
| 0:05 | Why is Achilles, ancient Greece's greatest warrior, here disguised as a woman? | 古希腊最伟大的战士阿基里斯为什么在这里伪装成女人? |
| 0:12 | Hello, I'm Francesca. | 你好,我是弗兰西斯卡。 |
| 0:13 | I'm the curator of later Italian, Spanish and French paintings here at the | 我是后来意大利、西班牙和法国画家 |
| 0:17 | Angelica Kaufman的阿基里斯发现 | |
| 0:23 | amongst the daughters of Lycomedes. | 在莱科梅德斯的女儿中 |
| 0:26 | Angelica Kaufman was one of the most celebrated and | 安吉丽卡·考夫曼是最受欢迎的 |
| 0:29 | renowned artists of the 18th century. | 18世纪著名艺术家. |
| 0:32 | Kaufman really worked for the very highest level of patrons | 考夫曼真的为最高级的赞助商工作 |
| 0:36 | in Europe, so we know that she painted for George III of Britain, Queen Caroline of Naples, | 在欧洲,我们知道 她画的乔治三世 不列颠, 卡罗琳王后那不勒斯, |
展开字幕全文（155 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | Beautiful pink dress, gorgeous golden locks, brandishing a sword. | 美丽的粉红色裙子 华丽的金锁 挥舞着一把剑 |
| 2 | Why is Achilles, ancient Greece's greatest warrior, here disguised as a woman? | 古希腊最伟大的战士阿基里斯为什么在这里伪装成女人? |
| 3 | Hello, I'm Francesca. | 你好,我是弗兰西斯卡。 |
| 4 | I'm the curator of later Italian, Spanish and French paintings here at the | 我是后来意大利、西班牙和法国画家 |
| 5 | Angelica Kaufman的阿基里斯发现 | |
| 6 | amongst the daughters of Lycomedes. | 在莱科梅德斯的女儿中 |
| 7 | Angelica Kaufman was one of the most celebrated and | 安吉丽卡·考夫曼是最受欢迎的 |
| 8 | renowned artists of the 18th century. | 18世纪著名艺术家. |
| 9 | Kaufman really worked for the very highest level of patrons | 考夫曼真的为最高级的赞助商工作 |
| 10 | in Europe, so we know that she painted for George III of Britain, Queen Caroline of Naples, | 在欧洲,我们知道 她画的乔治三世 不列颠, 卡罗琳王后那不勒斯, |
| 11 | the Emperor of Austria. | 奥地利皇帝 |
| 12 | She is really at the top of her game. | 她真的在她的游戏中名列前茅。 |
| 13 | She was a huge celebrity | 她是个名人 |
| 14 | and her paintings garnered enormous prices. | 她的画作获得了巨大的价格。 |
| 15 | This picture was painted while Kaufman was working for | 这张照片是在考夫曼工作期间画的 |
| 16 | Empress Catherine the Great of Russia and it's a story that comes from ancient Greek myth. | 俄国的凯瑟琳大帝皇后 这个故事来自古希腊神话 |
| 17 | Achilles | 爱奇艺 |
| 18 | is the son of a king and a sea nymph and it's prophesied when he's young that he will either, | 是一个国王的儿子 一个海的尼姆 并且他年轻时预言他会 |
| 19 | if he doesn't go to fight in the Trojan War, live a very long but ultimately forgettable life | 如果他没有去参加特洛伊战争, 过着漫长但最终可以忘记的生活 |
| 20 | or that if he does go and fight in the Trojan War he will win eternal glory but the price to pay | 或者,如果他去参加特洛伊战争 他将赢得永恒的荣耀 但代价 |
| 21 | for that is dying tragically young. | 因为那正在悲惨地死去 年轻。 |
| 22 | And so his mother, the sea nymph Thetis, desperate to try | 所以他的母亲,海尼姆·塞蒂斯, 急于尝试 |
| 23 | and save her son from his fate, hides him among the daughters of Lycomedes. | 并拯救她的儿子脱离他的命运,把他隐藏在莱科梅德斯的女儿中. |
| 24 | She dresses him in | 她给他穿衣服 |
| 25 | woman's clothes, he is disguised and he goes to live among the king's daughters. | 女人的衣服,他伪装 他去住在国王的女儿。 |
| 26 | And here when he's | 当他来了 |
| 27 | among the king's daughters he actually ends up having a relationship with one of them, the Princess | 在国王的女儿中 他最终和其中的一位公主有关系 |
| 28 | Deidamia, and they have a daughter together. | Deidamia, 他们有一个女儿在一起。 |
| 29 | But the moment that Kaufman is painting is the moment | 但考夫曼在画画的那一刻 |
| 30 | Achilles is discovered. | 阿喀琉斯被发现. |
| 31 | So Ulysses is the figure we see here at the left of the painting. | 尤利西斯是画左边的人物 |
| 32 | He's | 琌 |
| 33 | sort of widely regarded as the most cunning, the most clever, the most intelligent of the Greek | 被广泛认为是希腊人中最狡猾,最聪明,最聪明的人 |
| 34 | soldiers. | 士兵们 |
| 35 | It's him after all who comes up with the idea of the Trojan Horse and he has come to the | 毕竟是他想出了特洛伊马的主意 |
| 36 | daughters of King Lycomedes and he's brought them gifts. | 莱科梅德斯王的女儿, 他带给他们礼物。 |
| 37 | He's brought them gifts of jewels but also | 他给他们带来了珠宝的礼物,但也带来了 |
| 38 | and instinctively Achilles, the great warrior, the greatest warrior the Greeks are ever going to have, | 和本能的阿基里斯,伟大的战士, 伟大的战士,希腊人将拥有, |
| 39 | picks up the sword and not the necklaces and in doing so his true identity is revealed. | 捡起剑,而不是项链 这样他的真实身份就暴露了 |
| 40 | Kaufman is working in a period that we talk about historically as neo-classicism. | 考夫曼工作于我们所谈论的历史上的新古典主义时期. |
| 41 | So it's this moment | 就是这一刻 |
| 42 | in the second half of the 18th century where across Europe artists went back to the classical past | 在18世纪下半叶 跨欧洲的艺术家们回到了古典的过去 |
| 43 | and they looked at classical sculptures, at classical dress, at the ways in which stories | 他们看古典雕塑 古典服装 故事的方式 |
| 44 | were told visually in the classical world and they took those tools and they transposed them to their | 在古典世界中他们被告知 他们拿走了这些工具 把它们移植到他们的 |
| 45 | own pictures and Kaufman is absolutely a proponent of this neo-classical taste and you can see here | 拥有照片 考夫曼绝对是 这种新古典主义的品味的支持者 |
| 46 | that she's arranged her composition almost as if it's an antique frieze. | 她安排了她的曲子 就像是古董一样 |
| 47 | So if you think about | 所以,如果你考虑 |
| 48 | the kind of stories that are told on Greek vases where you have those kind of shallow sculptures | 在希腊花瓶上讲的那些故事 里面有浅薄的雕塑 |
| 49 | that go all the way around, you don't get much depth, you kind of tell your story almost like a | 一直绕来绕去, 你没有获得太多的深度, 你有点告诉你的故事 几乎像一个 |
| 50 | cartoon. | 漫画。 |
| 51 | I think we really see that here. | 我觉得我们真的看到了这一点。 |
| 52 | She's arranged all her figures basically in one line | 她把数字都排成一行 |
| 53 | across the canvas. | 穿过画布 |
| 54 | I think Kaufman really invites us to encounter this story from left to right. | 我觉得考夫曼真的邀请我们从左到右了解这个故事. |
| 55 | So here at the left edge of the painting we see the figure of Ulysses who's figured out, in fact, | 所以在画的左边缘,我们看到 尤利西斯的图 谁已经明白了,事实上, |
| 56 | he has discovered Achilles here in his disguise and we see him with his arm outstretched, this | 他在这里伪装发现了阿基里斯 我们看见他的手臂伸直了 |
| 57 | very, very strong gesture identifying the man who's here disguised in women's clothes. | 非常,非常强烈的姿态 识别谁在这里 谁伪装了女人的衣服。 |
| 58 | At the heart of the composition we see Achilles himself with the weapons raised so he's revealed | 我们从阿基里斯身上看到武器 所以他被揭发了 |
| 59 | himself. | 他本人 |
| 60 | He couldn't help himself but pick up this sword and show his true nature and then to | 他忍不住捡起这把剑 展现出他真正的本性 然后 |
| 61 | the right we see the daughters of Lycomedes and it's this wonderful kind of array of different | 我们看见莱科梅德斯的女儿们, 这是一种美妙的阵营 不同的 |
| 62 | reactions, you know, one sister sort of pointing as if to say what is that really, others kind of | 反应,你知道,一个姐妹 那种指点 仿佛要说 什么是真正的, 其它那种 |
| 63 | turning around. | 转身 |
| 64 | I love the sister who's at the right who likes, something really dramatic is | 我爱在右边的妹妹 谁喜欢,真正戏剧性的东西是 |
| 65 | happening but she's still rifling through the jewellery box, you know, the jewels that have | 但是她仍然在珠宝盒里画画 珠宝盒里有 |
| 66 | been brought frankly to her are more exciting than this great moment of revelation which is | 坦率地带给她 比这个伟大的启示时刻更令人兴奋 |
| 67 | the nature of the painting. | 绘画的性质。 |
| 68 | One of the really remarkable things about Kaufman is she's both | 考夫曼最了不起的一件事 就是她俩都是 |
| 69 | enormously respected and accomplished as a portraitist but she also is regarded as a | 作为肖像画家,她受到极大的尊重和成就,但她也被认为是一名 |
| 70 | history painter and when we talk about history painting we're talking about the narrative scenes | 历史画家,当我们谈论历史画时,我们谈论的是叙事场景 |
| 71 | depicting myths or episodes of history, classical history. | 描绘历史、古典历史的神话或故事。 |
| 72 | It's quite unusual for anyone in the | 这对任何人来说都是不寻常的 |
| 73 | 18th century but I think especially a woman to be able to command two such different genres that | 18世纪,我特别认为 一个女人能够指挥 两种不同的流派 |
| 74 | have such different demands, you know, if you're a portraitist you're working with people, they're | 有如此不同的要求,你知道, 如果你是一个肖像画家 你工作的人,他们是 |
| 75 | coming and sitting for you, you have to be personable, you have to be able to flatter them to | 来为你而坐,你必须品行端庄,你必须能够恭维他们 |
| 76 | degree. | 学位。 |
| 77 | It's a very sort of intimate relationship whereas if you're a history painter in some ways | 这是一种很亲密的关系 如果你是历史画家 在某些方面 |
| 78 | you're taking on a much grander challenge or you're trying to situate yourself in the great kind of | 你要面对一个更大的挑战 或者你试图让自己坐到 |
| 79 | canon of art history, you're telling really complicated stories, you're working at a huge | 艺术史上你讲的故事非常复杂,你正在一个巨大的 |
| 80 | scale often, you're working for really truly the greatest and grandest patrons so to me what's | 你经常为真正的最伟大和最伟大的赞助人工作 所以对我来说什么是 |
| 81 | incredible about Kaufman is that she manages to do all of that and be a woman and you know have a | 考夫曼的不可思议之处是 她能做这一切 并成为一个女人 你知道有一个 |
| 82 | {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}只要人们想来拜访她 {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}她似乎就把这一切结合在一起了 | |
| 83 | this enormously successful European career. | 这个欧洲事业非常成功 |
| 84 | This picture is what we would call a modello | 这张照片就是我们所谓的模特儿 |
| 85 | and by modello we mean a preparatory work so it's not the final big composition but it's a very | 我们是指一个筹备工作 所以这不是最后的大组成 |
| 86 | highly finished work made in preparation for the final painting. | 在准备最后的画作方面完成了大量的工作。 |
| 87 | We know that Kaufman is commissioned | 我们知道考夫曼是受委托的 |
| 88 | by the Empress Catherine the Great of Russia to paint this scene but if you're painting for the | {\fn华文仿宋\fs16\1cHD1D1D1}由俄国皇太后凯瑟琳大帝来画这个场景,但是如果你在画画 |
| 89 | first time that's a huge and possibly rather daunting task but number two she's asked for a very large | 第一次,这是一个巨大的, 可能相当艰巨的任务 但第二,她要求一个非常大 |
| 90 | finished work and you wouldn't start as an artist straight onto that large scale finished painting. | 完成的工作,你不会作为一个艺术家开始 直接在大尺度完成的画。 |
| 91 | I think we should think about the artistic process moving from you know the initial sketches where | 我想我们应该考虑一下艺术过程 从你知道的最初的草图 |
| 92 | you might work out an idea or think about some of your figures maybe some of their poses you know | 你可能会想出一个想法 或者想想你的一些数字 也许他们的一些姿势 你知道 |
| 93 | even on sheets of paper you might then think about the finished canvas and the pick that you know the | 甚至在纸板上 你可能会想到 完成的帆布和选择 你知道 |
| 94 | canvas that will ultimately be delivered to your patron and this modello I think really sits in the | 画布最终会交给你的赞助人 和这个模特儿 我认为真的坐在这里 |
| 95 | middle of that process. | 中间的过程。 |
| 96 | So if you look at Achilles in this beautiful purple fabric actually if you | 所以,如果你看阿喀琉斯 在这个美丽的紫色织物,实际上如果你 |
| 97 | really look closely you can see that it's not just purple but she's really mixing the red and the blue | 仔细看,你可以看到,它不只是紫色, 她真的混合了红色和蓝色 |
| 98 | and purple tones together to create this almost shimmering changing silk with its rich colours. | 和紫色的色调一起 产生这种几乎闪烁的 变化的丝绸 以其丰富的颜色。 |
| 99 | We can look at Ulysses and the decoration on his tunic and the way that his clothes not only the way | 我们可以看尤利西斯 和装饰他的礼服 和他的衣服的方式 |
| 100 | they hang and they fall but the fact they're embellished you know she's thinking about all these | 他们上吊摔倒,但事实上,他们被装饰 你知道她在想这些 |
| 101 | final details she's really sort of making a map for herself for where these final details are going | 最后的细节,她真的有点 自己做一个地图 在那里这些最后的细节去 |
| 102 | to appear in the finished painting. | 显示在完成的画中。 |
| 103 | We know that there are gridding lines underneath and this is a | 我们知道下面有电网线 这是... |
| 104 | process that's known as squaring up where if you've made your modello you're like it's not small this | 被称作“扎扎”的过程 如果你做了模特儿 你就会觉得这不小 |
| 105 | picture but it's not as big as the final composition. | 图片 但它没有最终的构成那么大。 |
| 106 | If you're an artist you then draw a kind of grid | 如果你是艺术家 那就画个网格 |
| 107 | across that picture so that when you're moving from a smaller canvas to a bigger canvas you can | 当你从小画布转向大画布时 |
| 108 | draw square to square and that helps you keep your composition together it helps keep everything in | 平面画到平面 帮助你保持你的构成 帮助保持一切 |
| 109 | the same scale so while this isn't necessarily painted for the empress herself it's all part of | 同样的尺码 虽然这不一定是给女王自己画的 |
| 110 | this you know many months long process of producing a work for someone like Catherine the Great and | 你知道很多月来为凯瑟琳大帝和 |
| 111 | Catherine the Great is one of Europe's great artistic patrons she has one of the most spectacular | 凯瑟琳大帝 是欧洲最伟大的艺术赞助者之一 她有一个最壮观的 |
| 112 | collections of at that time contemporary but also old master art she's working with all the great | 当时收藏的古老的艺术 她与所有伟大的 |
| 113 | artists across Europe and as a woman she's particularly interested in female artists and | 整个欧洲的艺术家 作为一个女人 她对女性艺术家特别感兴趣 |
| 114 | so I think that must be why she approaches Kaufman to paint this subject for her. | 所以我想那一定是为什么 她接近考夫曼 为她画这个主题。 |
| 115 | You know the | 你知道吗? |
| 116 | background to this is this is very kind of masculine dominated narrative of war and violence | 与此相关的背景是,这是非常男性主导的战争和暴力故事 |
| 117 | actually for me I think what's so interesting here is that what we're seeing this scene it really | 实际上,我觉得这里很有趣的是 我们所看到的这个场景 |
| 118 | comes about as the result of a lot of female action and a lot of female agency so the whole | 因为很多女性行为 和很多女性代理 所以整个 |
| 119 | reason that Achilles is hidden here is because his mother Thetis has tried to save him from his | 阿喀琉斯被藏在这里的原因是 他的母亲希提斯试图从他那里拯救他 |
| 120 | fate. | 命运 |
| 121 | For me the figure I'm most drawn to in this painting and I think is the sort of maybe the | 对我来说,我在这幅画里最吸引人... ...我想是那种... |
| 122 | silent heroine is this figure here Princess Deidamia who's the woman the daughter of Lycomedes | 沉默的女主角是这个人物 迪达米娅公主 她是莱科梅德斯的女儿 |
| 123 | with whom Achilles has had this relationship during the period in which he's been disguised | 阿基里斯在伪装期间 和他有过这种关系 |
| 124 | and I can't help but feel that Kaufman really draws our eye to this figure if we look at her | 我忍不住觉得如果我们看着她 考夫曼真的会注意到这个数字 |
| 125 | outfit here we see her in white and gold this very very bright yellow that draws our eye to it | 我们在这里看到她身穿白色和金色 这非常明亮的黄色 吸引我们的眼睛 |
| 126 | it's beautifully painted I think Kaufman's really spent a long time thinking about the fall and | 画得很漂亮 我觉得考夫曼真的花了很长时间 想着秋天 |
| 127 | fold of fabric there about details like the arm band the decoration but for me actually what I | 折叠的布料 有关细节 像臂带 装饰,但实际上我是什么 |
| 128 | really love is that gesture the hand and it's so clever I think that the artist has chosen to | 真正的爱是手的手势 这太聪明了 我认为艺术家选择了 |
| 129 | silhouette that gesture against the pink of Achilles' dress because to me it's such a gesture | 对阿喀琉斯的裙子的粉红色的姿势 画得一模一样 |
| 130 | of of protection and wanting to reach out to somebody that we love. | 想要找到我们爱的人 |
| 131 | Born in Switzerland in | 出生于瑞士 |
| 132 | 1741 Kaufman was the only daughter of a painter and that was really really important to her | 1741年考夫曼是画家唯一的女儿 这对她很重要 |
| 133 | and crucial for her development because actually unless you were the daughter of a painter or | 对她的发展至关重要 因为事实上 除非你是画家的女儿 |
| 134 | somehow born into an artistic family it was incredibly difficult to become an artist as a | 不知何故出生在艺术家庭 很难成为艺术家 |
| 135 | 18th century Europe the family didn't stay in Switzerland in the 1750s she and her father | 18世纪欧洲 1750年代她和父亲没有留在瑞士 |
| 136 | moved to Italy and it was here that she studied the great works of renaissance and classical art | 她就在这里学习了复兴和古典艺术 |
| 137 | with her father who really taught her how to paint and her talents were very quickly appreciated so | 她父亲真的教她画画 她的才华很快受到好评 |
| 138 | at the age of just 23 she was accepted into the Accademia di San Luca the artist's academy in Rome | 她才23岁就进入了圣卢卡学院 罗马的艺术家学院 |
| 139 | and in 1766 when she's just 25 she moved to London and here she found huge celebrity | 在1766年她才25岁的时候 她搬到伦敦,在这里她找到了名人 |
| 140 | and in fact just two years after she arrives in 1768 when the Royal Academy of Arts is founded | 在她1768年皇家艺术学院成立两年后 |
| 141 | here in London Kaufman is one of only two founding female members. | 伦敦考夫曼是仅有的两个创始女性成员之一 |
| 142 | Famously when Zofany paints the | 苏法尼画画时的名声 |
| 143 | academicians of the Royal Academy he paints this glorious scene with all these male academy members | 皇家学院的学者们 他用这些男性院士 描绘了这个辉煌的场景 |
| 144 | gathered around and there's models and it's a studio and everyone's working but Kaufman and | 聚集在周围,有模型 它是一个工作室 每个人都工作,但考夫曼和 |
| 145 | Mary Moser the other female member they're depicted in portraits on the wall because they | Mary Moser 另一个女性成员 他们被描绘在墙上的肖像 因为他们 |
| 146 | can't be there in the room. | 不能在房间里。 |
| 147 | Kaufman spent 16 years here in London but in 1782 she returned to Rome | 考夫曼在伦敦待了16年 但1782年她回到罗马 |
| 148 | and it was really there that she spent the rest of her career. | 她真的在那里度过了余生 |
| 149 | She was an exceptionally well | 她是一个特别好的人 |
| 150 | connected woman the poet Herder actually described her as possibly the most cultured woman in Europe | 诗人赫德将她描述成 欧洲最有文化的女人 |
| 151 | and so we are absolutely thrilled to have welcomed this painting the first history painting in oils | 所以,我们非常高兴地欢迎这幅油画 这是第一张油画的历史画 |
| 152 | by Kaufman in a UK public collection recently here at the National Gallery. | 由Kaufman在英国公共收藏馆制作, |
| 153 | We tell here the story of | 我们在这里讲述 |
| 154 | Western painting and I think it's so appropriate that she's now here in London in Trafalgar Square | 她现在在伦敦的特拉法加广场 这画很合适 |
| 155 | at the heart of the city in which she spent so many years and in which she really made her | 在那座城市的中心 她度过了这么多年 在她真正造就了她 |
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