歷史上最著名的畫作背后的有趣故事

歷史上最著名的畫作背后的有趣故事

Another installment to the series where we explore the background and meaning behind famous artworks.

系列的另一部分，我們將探討著名藝術(shù)品背后的背景和意義。

Find our previous post here.

在這里找到我們之前的文章。

#1 Scotland Forever!, Lady Butler, 1881

永遠(yuǎn)的蘇格蘭!——巴特勒夫人，1881年

"Scotland Forever!" depicts the Royal Scots Greys charging alongside the British heavy cavalry at the Battle of Waterloo in 1815. Butler was inspired to paint the charge as a response to the aesthetic paintings that she saw - and intensely disliked - on a visit to the Grosvenor Gallery. Although Butler had never observed a battle, she was permitted to watch her husband's regiment during training maneuvers, positioning herself in front of charging horses in order to observe their movement.

《永遠(yuǎn)的蘇格蘭》描繪了1815年的滑鐵盧戰(zhàn)役中，蘇格蘭皇室的灰人與英國重騎兵并肩沖鋒。巴特勒是在一次參觀格羅夫納畫廊時(shí)，看到了一些唯美主義的繪畫作品，她非常不喜歡這些作品，于是受到啟發(fā)，畫了這幅畫。雖然巴特勒從來沒有觀察過戰(zhàn)爭，但她被允許在訓(xùn)練演習(xí)時(shí)觀察她丈夫所在的團(tuán)，為了觀察他們的行動(dòng)，她站在沖鋒的馬前面。

#2 Geopoliticus Child Watching The Birth Of The New Man, Salvador Dalí, 1943

《地緣政治孩子望著新人的誕生》薩爾瓦多·達(dá)利，1943年

This is arguably the most recognizable piece created by Salvador Dalí. Completed during his stay in the United States from 1940 to 1948, it reflects the important role America would play on the world stage following World War II. The man emerging from the egg is rising out of the "new" nation. Africa and South America are both enlarged, representing the growing importance of the Third World, while Europe is being crushed by the man's hand, indicating its diminishing importance as an international power. The draped cloth represents the placenta of the new nation. A starving and weary female figure representing the past era points to acknowledge the importance of this new world power. The child at her feet represents the new age. The child casts a longer shadow than the woman, indicating that the new age will soon replace the old one.

這可能是薩爾瓦多·達(dá)利創(chuàng)作的最著名的作品。該作品于1940年至1948年期間完成，反映了二戰(zhàn)后美國在世界舞臺(tái)上扮演的重要角色。從蛋里出來的人，就是從“新”國里出來的人。非洲和南美洲都在擴(kuò)大，代表著第三世界日益增長的重要性，而歐洲正在被這個(gè)人的手壓垮，表明它作為一個(gè)國際大國的重要性正在下降。披著的布代表新國家的胎盤。一個(gè)代表過去時(shí)代的饑腸轆轆、疲憊不堪的女性形象指出了這個(gè)新的世界強(qiáng)國的重要性。她腳下的孩子代表著新時(shí)代。孩子的影子比女人的影子長，預(yù)示著新時(shí)代將很快取代舊時(shí)代。

#3 At Breakfast, Zinaida Serebryakova, 1814

早餐，娜伊達(dá) 謝列勃里亞科娃， 1814年

The painting depicts the artist’s family life through her children: eight-year-old Zhenya, seven-year-old Shura, and two-year-old Tata, with each child’s character subtly shown. The children sit patiently as they wait for their grandmother to pour soup into their bowls. The piece depicts a sense of purity and tranquility as well as an atmosphere of warmth and tenderness, at the same time depicting a fleeting moment in time, with the subjects turning to look at the audience.

這幅畫通過她的孩子們描繪了這位藝術(shù)家的家庭生活:8歲的珍雅、7歲的舒拉和2歲的塔塔，每個(gè)孩子的性格都被巧妙地表現(xiàn)出來。孩子們耐心地坐著，等著奶奶把湯倒進(jìn)他們的碗里。這幅作品描繪了一種純凈和寧靜的感覺，一種溫暖和柔情的氛圍，同時(shí)描繪了時(shí)間的飛逝，主題轉(zhuǎn)向觀眾。

#4 Ploughing In The Nivernais, Rosa Bonheur, 1849

《尼維爾田間勞動(dòng)》，羅莎·邦希爾，1849年

The Nivernais was known for its Charolaise cattle, which played an important role in the agricultural revolution of the nineteenth century. Rosa Bonheur, having a reputation for her animal paintings, was commission by the French government to create this piece. According to Albert Boime, the painting should be seen as a glorification of peasant life and its ancient traditions; he places it in the context of the revolutionary year 1848, when cities were the scene of chaos and strife.

Nivernais以其Charolaise牛而聞名，這些牛在19世紀(jì)的農(nóng)業(yè)革命中發(fā)揮了重要作用。羅莎·邦希爾因其動(dòng)物畫而聞名，她受法國政府委托創(chuàng)作了這幅作品。阿爾伯特·伯梅認(rèn)為，這幅畫應(yīng)該被看作是對農(nóng)民生活及其古老傳統(tǒng)的頌揚(yáng);他將其置于1848年革命的背景下，當(dāng)時(shí)的城市是一片混亂和沖突的景象。

圖片來源：CrunChewy McSandybutt