拉斐尔前派的遗产

Review: The Pre-Raphaelite Legacy at the Metropolitan Museum

Lisa Zeiger / 10 June 2014

评论：大都会博物馆的前拉斐尔派遗产

From the dark grey walls of a quiet gallery in the Lehman Wing of the Metropolitan Museum there glow forth some 30 seminal works of the Pre-Raphaelite Brotherhood, arguably England’s most lyrical and seductive contribution to the fine arts. These are works that bewitch, with a mimesis of female beauty unequalled except in the High Renaissance or in, let us say, the head of Nefertiti in the Neues Museum in Berlin.

在大都会博物馆的莱曼翼部有一个安静的画廊，深灰色的墙上，30幅影响深广的的前拉斐尔派兄弟会作品焕发着光芒，据说它们是英国史上最抒情而又富魅惑力的杰作。除却文艺复兴盛期、或柏林新博物馆的奈费尔提蒂的头像这样的艺术形式以外，这些摹拟女性美的作品简直迷人得无可比拟。

It is female beauty, however, of a peculiarly languid sort, the beauty of the muse who reigns through submission, the languor of the models – Elizabeth Siddal comes to mind – intensified, all too often, by laudanum or chloral. Her sovereignty arises through acquiescence, a majestic suspense of self in the service of myth.

这里谈的女性美是一种慵懒的类型。缪斯之美因谦恭而占主导地位。说到慵懒的典范，马上会让人想起伊丽莎白·希德尔，这种体验会因为鸦片或咖啡因被强化。她的至高无上来源于服务于神话的那种顺服和高贵的自我的悬念。

The exhibition opens with a rare and precious work of applied art; the cabinet, designed by Philip Webb and painted by Edward Burne-Jones, entitled The Backgammon Players. Its prominence reminds us that the eventual trajectory of the Brotherhood and its offspring, the Arts & Crafts Movement, was to traverse traditional divisions in the arts, exalting furniture, metalwork and ceramics, as well as painting and poetry, often synthesising one or more of these arts in a single work. The Backgammon Players takes the ancient form of the Hispano-Moresque vargue?o cabinet, a chest, equipped with hidden drawers and recesses, mounted on tall legs.

这个展览同时展出罕见而珍贵的应用艺术作品，由Philip Webb设计，Edward Burne-Jones绘制的橱窗，题名为《西洋双陆棋玩家》。它的特别之处使我们想起前拉斐尔派兄弟会的最终轨迹，它的后继者工艺美术运动，横贯传统艺术的各个分支，——和改进绘画、诗歌一样，改进家具、金属制品、陶器，他们经常将一个或多个这样的艺术类型合成在单个作品中。“西洋双陆棋玩家”借鉴于西班牙摩尔式橱窗的古老形式，它是一个配有隐藏的抽屉和暗格，安装在高支架上的箱子。

It is presented just next to a twilight scene by Burne-Jones entitled The Love Song, a painting which, in 1878, moved Henry James to compare it to ‘some mellow Giorgione or some richly glowing Titian.’ Burne-Jones was inspired by the 15th-century Venetian painter Carpaccio: this masterwork depicts three figures in an Arthurian idyll, inspired by an old Breton song, ‘Alas, I know a love song/Sad or

happy, each in turn.’ The words capture perfectly the art and soul of the entire Pre-Raphaelite Movement, shot through with aesthetic and religious transport, erotic bliss and disappointment.

《西洋双陆棋玩家》被安置在Burne-Jones题为《爱之歌》的描述薄暮场景的绘画作品旁边，爱之歌在1878年，曾感动Henry James将其比作“一如乔尔乔内般醇厚，一如提香般炽热”。 Burne-Jones受到15世纪威尼斯画家卡尔帕乔的一幅巨作的启发，该巨作描绘亚瑟王田园诗中的三个人物，灵感来源于一首古老的布列塔尼歌曲：“啊，我知道一首爱之歌，悲喜更迭。”歌词完美地捕捉了整个前拉斐尔派运动的艺术灵魂，借由美学和宗教的载体，穿透了性爱的极乐与失丧。

The Convalescent, drawn in pastel on paper by the ‘unofficial Pre-Raphaelite’ Ford Madox Brown, underscores the theme of female passivity and a certain access to nerves. It made me think of the line from John Fowles’ tale of the period, The French Lieutenant’s Woman: ‘Her torture was her delight.’

Ford Madox Brown，非正式的前拉斐尔派成员的纸上蜡笔画《初愈者》，强调女性的被动和某种神经质这一主题。这让我想起John Fowles这一时期的小说《法国中尉的女人》中的句子：“她所受之苦使她欢欣。”

Love, languor and laudanum aside, we are invited here to contemplate a rich array of works –some, including many books from Morris’ Kelmscott Press and ones designed by Aubrey Beardsley, sequestered in vitrines – that capture a unique flowering of British art. This carefully calibrated exhibition alternates between fine and decorative art, including luminous chargers by William de Morgan, the stained glass panel by Burne-Jones, King David the Poet, and tapestries by Burne-Jones woven at Merton Abbey Tapestry works for Morris & Company.

爱、慵懒，在旁的鸦片，我们被邀请到这里来考察一系列数量繁多的作品，其中一些，包括莫里斯·凯尔姆斯科特出版社的许多著作，以及由奥本·比尔斯利（Aubrey Beardsley）设计的许多书籍，都被封闭在玻璃橱窗里，它们捕捉了独特的英国艺术之花。这些尺度规范化的展品交替出现在美术与装饰艺术之间，包括William de Morgan的发光的浅盘，Burne-Jones的彩色玻璃嵌板，诗人King David，以及由Burne-Jones为Morris ＆Company在莫顿修道院挂毯厂中编织的的挂毯。

Paintings by Simeon Solomon and Dante Gabriel Rossetti, notably the watercolour and gouache Lady Lilith of 1867 (a portrait of the latter’s mistress Fanny Cornforth), all summon the quasi-mystical spirit of an age in which making – in all its forms – reached an apotheosis of material infused with spirit.

Simeon Solomon和Dante Gabriel Rossetti的绘画，特别是画于1867年的树胶水彩画《莉莉斯夫人》（罗塞蒂的夫人范妮·科夫福斯的肖像），它的所有形式都在呼召一个时期的类似神秘主义的精神，到达了物质注入心灵的顶峰。

‘The Pre-Raphaelite Legacy: British Art and Design’ is at the Metropolitan Museum of Art, New York, until 26 October.

前拉斐尔派遗产：英国艺术和设计在纽约大都会艺术博物馆，10月26日闭幕。

A quiet but powerful Turner Prize 低调而有力的特纳奖

Laura Allsop/ 28 September 2017

This year’s Turner Prize exhibition, which is taking place in Hull’s Ferens Art Gallery, is a quieter affair than the showcase at Tate Britain in 2016.今年的特纳奖展览，在赫尔的费伦茨美术馆举行。比去年在泰特美术馆的陈列低调。There are no headline-grabbing images to match Anthea Hamilton’s giant buttocks or Michael Dean’s sea of coins from last year.没有与Anthea Hamilton的巨大臀部或Michael Dean的硬币海洋相匹配的夺人眼球的头条画面。Instead, ideas about rootlessness and belonging, states of limbo and states of grace, pervade the array of paintings, prints, sculptures, films and installations by the four shortlisted artists: Hurvin Anderson, Andrea Büttner, Lubaina Himid and Rosalind Nashashibi.取而代之的是遍及大批绘画、版画、雕塑、电影和装置的有关无根和归属的看法，受拘禁和受尊荣的呈现。它们是经过筛选后留下的四位艺术家的作品。他们分别是：赫尔文·安德森（伯明翰1965），安德烈亚·布特纳（德国1972），卢拜纳·希姆德（坦桑尼亚1954）和罗莎琳德·纳沙希比（巴勒斯坦裔英国 1973）。

Lubaina Himid’s exhibition functions as a kind of mini-retrospective for the 63-year-old artist, who along with Hurvin Anderson qualifies for the 2017 prize following a decision to scrap the upper age limit of 50 years.希姆德的展览是这位63岁艺术家的小型回顾展，他和安德森同因50岁年龄上限被废除而获此殊荣。A succession of mostly unnamed black figures – individuals lost to history – populates her work. 构成她作品的，是一系列通常无名的、在历史中了无痕迹的黑人。In one piece they are painted onto a traditional dinner service, to commemorate the abolition of the slave trade; in another, a black woman features in a theatrical arrangement of rough cut-outs that restage a scene from Hogarth’s Marriage à-la-mode (1743) for the Thatcher age. 在其中一件作品中，他们被绘制在传统的成套的餐具上，为纪念

奴隶买卖的废除；另一个作品中，一个衣衫褴褛的黑人女性在一个布置好的剧场上重新上演撒切尔时代的贺加斯的《时髦婚姻（1743）》组图中的一个场景。 Mirroring this large-scale installation (which dates from 1987) is a more recent painting, Le Rodeur: Exchange (2016), depicting five people in an elegant tableau. 与这个从1987年就开始创作的大型装置形成对应的是一幅更近期的油画-Le Rodeur：交换（2016），描绘五个人在一个简洁的舞台上。The work’s source – a horrific episode in the history of the slave trade, in which an infection caused the passengers of a slave ship to suddenly go blind – is obliquely referenced with a view of the ocean and a tiny eye standing in for a button on a coat. 作品来源于奴隶买卖史上一个可怕的事件，在这个事件中，一种传染病导致了奴隶船上的乘客们突然失明，画家用一个海洋情景和一个代替大衣纽扣上的小眼睛作为间接参照。Strangely dreamlike, not least because one of the characters has a bird’s head, the painting is charged with a sense of magical suspension. 画面奇幻如梦，不仅因为其中一个角色有个鸟头，还因充斥着魔术般的悬念。Himid’s noble figures appear on the one hand trapped by history, and yet

在起飞的边缘。

Like Himid, German artist Andrea Büttner reconsiders and elevates forgotten people in her work. In her display, images of beggars from art history are exhibited on a low table, quite literally begging a closer look, while a series of nine woodblock prints, based on Ernst Barlach’s 1919 sculpture of a cloaked mendicant, initially seem childlike in terms of their composition, but prove deeply affecting. 和希姆德一样，德国艺术家Andrea Büttner安德烈亚·布特纳在她的作品中重新思考和提取那些被遗忘的人。在她的展品中，艺术史上的乞讨者形象被展示在一个矮桌里，毫不夸张地乞求人们更仔细地观看，九个一系列的木版画，以恩斯特巴拉赫1919年的雕塑《带斗篷的乞丐》为原型，起初在组成上看起来似乎很小，但却影响深远。Elsewhere, overlooked forms of labour are alluded to via simple statements of colour: a wall covered in yellow Hi-Vis fabric underscores the efforts of emergency service workers; a piece of blue fabric laid across a table turns out to be a fine silk made by nuns. Musings from Simone Weil’s L’Enracinement (The Need for Roots), which was published posthumously in 1949, also feature. They have been loaned from the Peace Library and Antiwar Museum of the Evangelical Church in Berlin as a complete display, pinned to easily transportable frames – the kind you see in schools or libraries. There’s a charming didacticism to Büttner’s showcase overall.在其他地方，细看通过简单的颜色陈述所暗示的劳动形式：一面墙被高能见度的黄色织物覆盖，强调紧急服务工作者的付出；一块覆盖在桌面上的蓝色织物，原来是修女制作的上等丝绸，对西蒙尼·维尔Simone Weil的L’Enr acinement (The Need for Roots),《根的需要》一书的思考也很有特色，此书在1949年于作者身后出版。它们是从柏林福音派教会和平图书馆和反战博物馆中借来的，以此完善展览。它们被别在易于运输的框架上，就是你在学校和图书馆见到过的那种，布特纳的陈列总体上有一种有趣的启示作用。

Weil’s thoughts on displacement link, indirectly, to Hurvin Anderson’s beguiling paintings. These are the highlight of the prize, some of which deal literally and metaphorically with roots. 维尔对移居链的想法，与赫尔文·安德森的迷人的绘画间接相关。安德森的作品是特纳奖的亮点，其中一些以字面或隐喻的方式处理根。His lush landscapes, often painted on large-scale grids, fuse different memories and sources, notably the trees of the UK and Jamaica, where the artist’s parents were born. 他的葱郁的风景，经常是描绘在大尺寸的网格上，融合不同的记忆和源流，尤其是英国和牙买加的树林，牙买加是艺术家父母出生的地方。Two large-scale paintings depict a figure almost completely obscured by foliage, which gives the impression of something glimpsed in a dream or recreated from a lost source. 两幅大尺寸的作品描绘了一个几

（2016）》比如，从一系列将场景设置在理发店的作品看来，它们毫无疑问是政治化的，同时还有唤起内省的空间。

There’s a hermetic feel to the two films by Rosalind Nashashibi, one shot in the Gaza Strip in 2014 and another more recently in the Guatemalan home of mother and daughter artists, Elisabeth Wild and Vivian Suter. Electrical Gaza(2015) combines claustrophobic footage of narrow alleyways and the Rafah Crossing with moments of animation which seem to breathe air into the scenes. 罗莎琳德·纳沙希比的两部影片都给人不透气的感觉，一部是在2014年加沙脱衣舞拍的，另一部更近期的是在危地马拉一对母女艺术家家中拍的，Elisabeth Wild and Vivian Suter，2015年创作的电力加沙将窄巷里的幽闭恐怖片段和拉法十字街头的动画相结合，似乎要使场景有呼吸感。The threat of violence, however, is ever-present and finally communicated via an ominous black circle overlaid onto a street scene. 然而，经常出现的暴力威胁最后通过覆盖在街道场景里的不详的黑圈来传达。Vivian’s Garden (2017 follows mother and daughter as they go about their apparently cloistered lives. Vivian’s Garden （2017年）（跟随一对在当时开始隐居生活的母女拍摄）。Comparisons to the 1975 documentary Grey Gardens are ine vitable, especially in the couple’s oddly infantile relations. 与1975年纪录片《灰色花园》作比较是不可避免的，尤其是这对人奇怪的纽带关系。But here, too, there are moments of unexpected transcendence and pathos, whether in the protagonists’ tender exchanges, or in the footage of a painting b obbing through the trees as it’s carried through a forest.但是在这里，无论是在主人公之间的温柔交流时，还是在一幅画在森林中穿梭的镜头下，都会出现意想不到的超然和悲怅的时刻。

So, another year, another Turner Prize. Unshowy, yet no less impressive, 2017’s exhibition feels perfectly judged to suit our tangled current climate. 新的一年，新的特纳奖，不显眼，也不逊色，2017年的展览感觉上是完美地评判，以迎合我们当下纷繁的思潮。

The Turner Prize 2017 exhibition is at the Ferens Art Gallery, Hull, until 7 January 2018.2017特纳奖展览至2018年1月7日，在赫尔的费伦茨美术馆。