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  • In the 1800s, most paintings looked like this.

    在19世紀,大部分的畫都是這樣的。

  • Muted colors, complex scenes, and lots of mythological stuff.

    色彩柔和,場景複雜,還有很多神話的東西。

  • But in 1865 something came along that was so different, it caused shock and horror and

    但在1865年,出現了一些不同的東西,它引起了震驚和恐懼,並且...

  • outrage.

    憤怒。

  • the body's putrefying color recalls the horror of the morgue."

    "屍體腐爛的顏色讓人聯想到停屍房的恐怖"

  • "a skeleton dressed in a tight-fitting tunic of plaster."

    "一具穿著緊身石膏衣的骷髏"

  • takes on at times the undefinable terror of a painted corpse.”

    "有時會有一種難以定義的恐怖,就像一具畫中的屍體。"

  • "her face is stupid, her skin cadaverousshe does not have a human form."

    "她的臉很蠢,她的皮膚很粗糙... 她沒有人形"

  • The painting is called Olympia, and it changed the art world forever.

    這幅畫叫奧林匹亞,它永遠改變了藝術界。

  • Édouard Manet painted Olympia in 1863.

    愛德華-馬奈於1863年創作了《奧林匹亞》。

  • When Paris was the cultural center of the world.

    當巴黎成為世界文化中心的時候。

  • And the center of this cultural center was the Academy of Fine Arts.

    而這個文化中心的中心就是美術學院。

  • The Academy was made up of upper-crust art critics that worshipped the Italian Renaissance

    學院是由崇拜意大利文藝復興時期的上層藝術評論家組成的。

  • painters of three hundred years prior.

    三百年前的畫家。

  • You know - Michelangelo, Raphael, Botticelli, Titian

    米開朗基羅,拉斐爾,波提切利,提香... ...

  • And at the Paris Salonthe Academy's legendary annual art showthey only displayed

    而在巴黎沙龍--學院傳奇性的年度藝術展上,他們只展示了

  • art that mimicked the renaissance style.

    模仿文藝復興風格的藝術。

  • To determine who got in, they had a bunch of rules.

    為了確定誰能進去,他們有一堆規則。

  • First and foremost - great art was supposed to convey a moral or intellectual message.

    首先--偉大的藝術本來就是要傳達一種道德或智慧的資訊。

  • And all acceptable art fell into one of five categories ranked by their capacity to deliver

    而所有可接受的藝術都屬於五種類型之一,按其傳遞能力排序。

  • those messages.

    這些資訊。

  • Landscapes and still lifes were at the bottom. In the middle are portraits...

    最下面是風景和靜物。中間是人像... ...

  • And genre paintingsmostly quaint scenes of poor or foreign subjects, painted for the

    而體裁畫--多為古色古香的窮鄉僻壤或外國題材的景物,畫的是為。

  • rich.

    豐富的。

  • At the top of the list is History painting, the Academy's darling.

    排名第一的是歷史畫,是學院的寵兒。

  • These depicted major historical or mythical moments, they were considered the best at

    這些描繪重大歷史或神話時刻的作品,被認為是最好的。

  • providing an ethical or moral lesson.

    提供倫理或道德教訓;

  • Like depictions of the birth of Venus - showing the goddess emerging fully formed from the

    就像對維納斯誕生的描述--顯示出女神完全成形的樣子。

  • ocean, a symbol of womanly perfection and divine love.

    海洋,是女人完美和神聖愛情的象徵。

  • Which brings us to the second set of rules.

    這就有了第二套規則。

  • Equally important to what was painted was how it was painted.

    與畫什麼同樣重要的是如何畫。

  • Take that painting ofThe Birth of Venus

    就拿那幅 "維納斯的誕生 "來說吧。

  • It's the kind of painting the Academy loved.

    這就是學院派喜歡的畫。

  • Its subjects are idealized, prettified visions of the worldsmooth and beautiful, with

    它的主題是理想化的、經過美化的世界願景--平滑而美麗,具有以下特點

  • no body hair and flawless skin.

    沒有體毛,皮膚無瑕。

  • The painting follows the rules of depth and perspectivemeaning it looks like it could

    這幅畫遵循了深度和透視的規則--這意味著它看起來就像可以...

  • exist in the real world.

    存在於現實世界中。

  • And the scene is complex and layered - there's a lot going on.

    而且場景複雜,層次分明--事情很多。

  • Its colors are ones you'd find in nature. They aren't too saturated or harsh.

    它的顏色是你在大自然中找到的顏色。它們不會太飽和或太刺眼。

  • And the brushstrokes are smooth. So smooth that they're nearly invisible on the canvas.

    而且筆觸很流暢平滑到在畫布上幾乎看不見。

  • For a long time, really the only way to become a successful artist was to follow the Academy's

    在很長一段時間裡,真正成為一個成功的藝術家的唯一途徑是遵循學院的

  • rules.

    規則。

  • Which makes Manet's Olympia all the more an outlier.

    這讓馬奈的《奧林匹亞》更顯得格格不入。

  • Check out this painting by Renaissance master Titian from 1538.

    看看這幅文藝復興時期大師提香1538年創作的畫作。

  • Look familiar?

    看著眼熟嗎?

  • It should.

    它應該。

  • Manet painted Olympia as a direct riff on Titian's “Venus of Urbino.”

    馬奈畫奧林匹亞是直接模仿提香的 "烏爾比諾的維納斯"。

  • but there's a reason Manet's painting ruffled so many feathers when it hung in the

    - 但馬奈的畫被掛在博物館裡時,之所以會引起這麼大的反響是有原因的。

  • Salon.

    沙龍。

  • For starters, the name Olympia was a popular pseudonym for sex workers.

    首先,奧林匹亞這個名字是性工作者的流行化名。

  • Manet took a beloved, instantly recognizable painting and corrupted it - subbing in a common

    馬奈拿著一幅心愛的、一眼就能認出的畫作,並將其腐化--代入了一幅常見的畫作。

  • sex worker for the morally upright goddess of love and fertility.

    性工作者,為道德高尚的愛與生育女神。

  • There's not much room for a sex worker in the heirarchy of genres.

    在流派的傳人中,性工作者的空間並不大。

  • But it was also how Manet painted Olympia was what really changed things

    但也正是馬奈如何畫奧林匹亞才真正改變了一切。

  • Manet used stark and unnatural colors that give Olympia a cold, harsh look.

    馬奈使用了鮮明而不自然的色彩,使奧林匹亞顯得冷峻、刺眼。

  • And look at how rough and textured Manet's brushstrokes are compared to Titian's imperceptible

    看看馬奈的筆觸是多麼的粗糙,多麼的有質感,相比之下,提香的筆觸是多麼的不易察覺。

  • ones.

    的。

  • And, unlike Titians, Manet's painting doesn't seem to exist in real space. It's much flatter

    而且,與蒂蒂安不同,馬奈的畫似乎並不存在於真實的空間中。它更平坦

  • and less complex.

    且不太複雜。

  • And beyond the rules, the two paintings just feel different.

    而在規則之外,兩幅畫的感覺就是不一樣。

  • Venus lounges while Olympia sits at attention.

    維納斯在休息,而奧林匹亞則坐在一旁。

  • Venus' maids place furs in a chest, probably a wedding gift. Olympia's maid brings her

    維納斯的女僕把毛皮放在箱子裡,可能是結婚禮物。奧林匹亞的女僕帶給她

  • flowers, likely from one of her regular customers.

    鮮花,很可能是她的一個老顧客送的。

  • And compare their hands.

    並比較他們的手。

  • People really didn't like Olympia's tensed fingers - one critic claimed she wasmocking

    人們真的不喜歡奧林匹亞緊張的手指--一位評論家稱她是在 "嘲笑"。

  • the poseof Venus, with a hand shamelessly flexed"

    姿態 "的維納斯,無恥地彎曲著一隻手"

  • Where Venus is warm and inviting, Olympia is tense and stiff. It's as if Venus invites

    金星是溫暖和邀請的地方,奧林匹亞是緊張和僵硬的。這就像維納斯邀請

  • you to look at her, while Olympia confronts youalmost like she's shaming you for

    你看她,而奧林匹亞面對你 - 幾乎像她的羞辱你的

  • intruding.

    侵入。

  • It's not totally clear why the Academy chose to display Manet's rule-breaking painting,

    目前還不完全清楚,為什麼學院選擇展出馬奈這幅打破規則的畫作。

  • but it probably had something to do with Manet's growing popularity.

    但這可能與馬奈越來越受歡迎有關。

  • You can see his influence so clearly in what came next.

    在接下來的工作中,你可以清楚地看到他的影響。

  • He led the charge toward modernism in the late 1800s.

    他在19世紀末引領了現代主義的潮流。

  • Starting with the impressionists - Monet, Degas - who adopted his penchant for modern

    從印象派開始--莫奈、德加--他們採用了他對現代藝術的執著。

  • themes and loosened brushstrokes.

    主題和鬆散的筆觸。

  • But it's not just the impressionists who owe Manet.

    但不只是印象派欠馬奈的。

  • More than anything, Olympia is proof that no one entity gets to decide what art should

    更多的是,奧林匹亞是證明,沒有一個實體得到決定什麼藝術應

  • look like.

    看起來像。

  • And, when we look back on the history of art, we don't remember the people who were really

    而且,當我們回顧藝術史時,我們並不記得那些真正的人

  • good at following the rules.

    善於遵守規則。

  • We remember the people who moved the needle forward.

    我們記住了那些推動針頭前行的人。

In the 1800s, most paintings looked like this.

在19世紀,大部分的畫都是這樣的。

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