Name: 約翰內斯-維米爾的《擠奶女工》：偉大藝術解讀 (The Milkmaid by Johannes Vermeer: Great Art Explained)
Uploaded: 2024-06-28T05:32:56.000Z
Duration: 18 min 29 s

By the mid-17th century, the age of flamboyant Baroque was in full swing.

17 世紀中葉，華麗的巴洛克時代如火如荼。

It was an art movement that came from conflict.

這是一場源於衝突的藝術運動。

過去完成式

Europe had experienced the Reformation and Counter-Reformation, the wars of religion and Inquisitions.

歐洲經歷了宗教改革和反宗教改革、宗教戰爭和宗教裁判所。

The art being produced in Catholic countries had become a powerful tool of propaganda.

天主教國家生產的藝術品已成為強有力的宣傳工具。

It was characterised by a heightened sense of drama, movement and theatricality that had never been seen before.

它的特點是戲劇性、運動性和舞臺感的增強，這是前所未有的。

But in the Netherlands, a new wave of realism was sweeping across the country.

但在荷蘭，一股新的現實主義浪潮正席捲全國。

Johannes Vermeer was producing simple domestic interiors of middle-class life.

約翰內斯-維米爾（Johannes Vermeer）創作的是中產階級生活的簡單家庭室內裝飾。

His paintings were quiet, private and unassuming, secular works that contained stories of real human relationships.

他的畫作安靜、私密、不張揚，是蘊含著真實人際關係故事的世俗作品。

Vermeer's art would be totally forgotten about right up until the mid-19th century, the age of the camera.

維米爾的藝術直到 19 世紀中葉，即照相機時代才被人們徹底遺忘。

His incredible mastery of hyper-realism would lead some people to question the authenticity of Vermeer, to question whether he used mechanical means to achieve such perfect illusions.

他令人難以置信的超寫實技巧會讓一些人質疑維米爾的真實性，懷疑他是否使用了機械手段來實現如此完美的幻覺。

For some people, as we shall see, Johannes Vermeer is considered a cheat.

對某些人來說，約翰內斯-維梅爾是個金光黨，我們會看到這一點。

In 1556, the Habsburgs took over the Low Countries.

1556 年，哈布斯堡王朝接管了低地國家。

What today is the Netherlands, Belgium and Luxembourg, and ruled it as a Spanish province.

今天的荷蘭、比利時和盧森堡，並將其作為西班牙的一個省進行統治。

It was a clash of two dramatically different cultures.

這是兩種截然不同的文化的碰撞。

The Northern territories were Protestant, the Southern Catholic.

北部地區信奉新教，南部地區信奉天主教。

The Eighty Years' War ended in independence for the North in 1648.

八十年戰爭於 1648 年結束，北方獲得獨立。

While the Southern Netherlands remained Catholic and a part of Spain, in the North the strict

荷蘭南部仍然是天主教國家，是西班牙的一部分，而在荷蘭北部，嚴格的

Protestant sect of Calvinism became the nation's official religion.

新教的加爾文教派成為國家的官方宗教。

Vermeer's imagery was banned and an emphasis was placed on simplicity in both worship and decorative style.

維米爾的影像被禁止使用，崇拜和裝飾風格都強調簡潔。

The sharp break with the old monarchist and Catholic cultural traditions would mean that

與舊的君主制和天主教文化傳統的徹底決裂意味著

Dutch art had to reinvent itself almost entirely.

荷蘭藝術幾乎不得不重新塑造自己。

We know Vermeer was born in Delft in 1632.

我們知道維梅爾 1632 年出生於代爾夫特。

Then next to nothing is known about him, until he married Katerina Bolnes in 1653.

之後，人們對他幾乎一無所知，直到 1653 年他與卡捷琳娜-博爾內斯（Katerina Bolnes）結婚。

He was Catholic, and Vermeer almost certainly converted to Catholicism secretly before they married, probably at the insistence of his wealthy mother-in-law, who at first opposed the marriage.

他是天主教徒，維梅爾幾乎可以肯定在他們結婚前祕密皈依了天主教，這可能是在他富有的岳母的堅持下，她起初反對這樁婚事。

Although Catholic mass was banned, freedom of religion in the Dutch Republic was official, and converting to Catholicism didn't bring Vermeer any personal or professional disadvantages.

雖然天主教彌撒被禁止，但宗教自由在荷蘭共和國是正式的，皈依天主教並沒有給維米爾帶來任何個人或職業上的不利。

The couple moved in with Katerina's mother, and Vermeer spent the rest of his life in the same town, the same house, slowly producing paintings in the same room, on the second floor, at a rate of 2 or 3 a year.

這對夫婦搬到了卡捷琳娜的母親家，維米爾在同一個小鎮、同一棟房子裡度過了餘生，在二樓的同一個房間裡慢慢創作，每年創作兩三幅畫。

It is thought Vermeer produced 60 or so paintings, of which only 36 survive today.

據說維米爾創作了 60 多幅畫作，其中只有 36 幅留存至今。

Vermeer and Katerina had 15 children, of which 11 survived.

維米爾和卡特琳娜共育有 15 個孩子，其中 11 個倖存下來。

We know at least 5 other adults lived in the same house, as well as Vermeer's own 11 children.

我們知道，至少還有 5 個成年人和維梅爾自己的 11 個孩子住在同一所房子裡。

And yet, he never shows us any suggestion of family, or the chaos that naturally comes with a household that big.

然而，他從來沒有向我們展示過任何家庭的影子，也沒有展示過那麼大的一個家庭自然會出現的混亂。

It is safe to say that the peace and quiet Vermeer depicts in his paintings was not what he experienced in real life.

可以肯定地說，維米爾在畫中描繪的和平與寧靜並不是他在現實生活中體驗到的。

Genre paintings were scenes of everyday life, ordinary people engaged in common activities, that both reflected and helped define ideals about the family, love, morals, courtship, and duty.

類型畫描繪的是日常生活場景，是普通人從事的普通活動，既反映了家庭、愛情、道德、求愛和責任等方面的理想，也有助於這些理想的確定。

In the 17th century, the Dutch Republic dominated global trade and was the wealthiest country in the world.

17 世紀，荷蘭共和國主導著全球貿易，是世界上最富有的國家。

But the Dutch Calvinists were a frugal and austere group, naturally inhibited and embarrassed by wealth.

但荷蘭的加爾文教派是一個節儉樸素的群體，他們天生對財富感到拘束和窘迫。

Smaller, quiet secular paintings became hugely popular, and no longer the preserve of the church or aristocracy, or even the very wealthy.

小型、安靜的世俗繪畫大受歡迎，不再是教堂或貴族，甚至是富人的專利。

Paintings could be found in shops, taverns, and houses.

在商店、酒館和住宅中都能找到繪畫作品。

對藝術家來說，這是一個繁榮的時代。

Along with paintings, maps started to appear in homes, appealing to the Dutch desire for order.

除了繪畫，地圖也開始出現在家庭中，這迎合了荷蘭人對秩序的追求。

Cityscapes were an emblem of self-determination and a sense of pride in the young Dutch Republic.

城市景觀是年輕的荷蘭共和國自決和自豪感的象徵。

While Dutch Calvinists denounced devotional artwork in churches, they explicitly encouraged devotees to turn their attention to the visible world around them.

雖然荷蘭加爾文主義者譴責教堂中的虔誠藝術品，但他們明確鼓勵信徒將注意力轉向周圍的可見世界。

One of the most successful sub-categories of genre painting was the kitchen scene.

最成功的風俗畫子類別之一是廚房場景。

The Dutch saw hard work as spiritual, and household economy as a holy virtue, moderation in all things.

荷蘭人將勤勞視為一種精神，將節約視為一種神聖的美德，凡事都要有節制。

There were so many Dutch artists producing genre paintings, but if we look at these two paintings on the same theme, we see there were none quite like Vermeer.

荷蘭有很多藝術家創作風俗畫，但如果我們看一下這兩幅相同主題的畫作，就會發現沒有一幅能與維米爾相媲美。

Whose quiet settings, serene lighting, cropping, and ambiguousness made his scenes more universal than most genre paintings.

其寧靜的環境、寧靜的光線、剪裁和模糊性使他的場景比大多數風俗畫更具普遍性。

Artists borrowed themes and compositions from each other readily.

藝術家們隨時相互借用主題和作品。

Once a theme took off in sales, artists would produce their own variations.

一旦某個主題在銷售中脫穎而出，藝術家們就會製作出自己的變體。

Vermeer's paintings are all small, but the milkmaid is very small.

維米爾的畫都很小，但《擠奶女工》卻非常小。

According to conservators, it took two months to paint.

據保護人員稱，這幅油畫用了兩個月的時間。

The first thing to note is that she is not a milkmaid, but a domestic kitchen maid.

首先要注意的是，她不是擠奶女工，而是家庭廚房女傭。

She is a young woman of a strong build, wearing a crisp linen cap, a blue apron, and work sleeves pushed up from thick forearms.

她是一位身材健壯的年輕女性，頭戴一頂清爽的亞麻帽，繫著藍色圍裙，工作袖子從粗壯的前臂上捋起。

The unassuming maid is poised between action and introspection.

這位不起眼的女僕在行動與反思之間遊刃有餘。

She is slowly pouring milk into a squat earthenware vessel, commonly known as a Dutch oven.

她正慢慢地將牛奶倒入一個蹲式陶器（俗稱 "荷蘭烤箱"）中。

Her concentration and careful pouring suggest she is following a precise recipe.

她全神貫注，小心翼翼地倒水，這表明她是在按照精確的配方進行操作。

The Dutch oven has a deep rim, so a lid can be put on top for cooking.

荷蘭烤箱的邊緣很深，可以蓋上蓋子進行烹飪。

In front of the pot are broken pieces of stale bread.

It is thought she is making some kind of bread pudding.

人們認為她在做某種麵包布丁。

Her transformation of stale, unusable bread into something edible, and her careful use of ingredients, would have been picked up by the 17th century Dutch as an illustration of domestic virtue, a greatly admired value.

她將陳舊、無法使用的麵包變為可食用的東西，並精心使用各種配料，這在 17 世紀的荷蘭人看來，是家庭美德的體現，是一種非常值得推崇的價值觀。

We don't know who the model is, but Vermeer couldn't afford to pay models, so used his family and servants.

我們不知道模特是誰，但維米爾付不起模特費，所以用了他的家人和僕人。

It could be Tanika Everpol, a maid in Vermeer's house, but if it is, it is not meant to be a portrait.

這可能是維米爾家的女僕塔尼卡-埃弗波爾，但如果是的話，也不應該是一幅肖像畫。

Vermeer is really showing his astounding ability to suggest a vast range of textures.

維米爾真正展現出了他令人驚歎的表現各種質感的能力。

The rough, inexpensive material is a sharp contrast to his later paintings of middle-class women.

粗糙、廉價的材料與他後來描繪中產階級女性的畫作形成鮮明對比。

After the milkmaid, Vermeer never again painted a working-class theme.

在《擠奶女工》之後，維米爾再也沒有畫過工人階級題材的作品。

女僕戴著一頂星光熠熠的帽子。

He has painted wet-on-wet here, as well as on other areas such as her sleeves.

他在這裡以及她的袖子等其他地方進行了溼對溼的繪畫。

Then he adds texture with layers of thick paint or impasto.

然後，他用一層層厚厚的顏料或浮雕來增加質感。

The arm is a masterclass in wet-on-wet technique, the rolled-up sleeves revealing a perfectly rendered tan line.

手臂上的溼透技術堪稱一絕，捲起的袖子露出了完美的棕褐色線條。

The edges of her forearms are soft, suggesting movement.

她前臂的邊緣很柔軟，暗示著運動。

We can feel the tension she has to maintain to let the milk pour out so slowly, and we can also sense the liquid falling.

我們可以感受到她為了讓牛奶慢慢倒出而必須保持的緊張感，我們也可以感受到液體的下落。

He would do something similar with the guitar strings in this painting, covered in my video

在這幅畫中，他也用吉他弦做了類似的處理，我的視頻中也有介紹

The maid is wearing a yellow chamois leather top, painted with lead-tin yellow, the brightest yellow pigment available in Vermeer's time, and one of his preferred colours.

女僕身穿一件黃色麂皮上衣，上衣是用鉛錫黃繪製的，鉛錫黃是維米爾時代最明亮的黃色顏料，也是他最喜歡的顏色之一。

He would use the same yellow pigment in later representations of the famous fur-trimmed morning jackets adorned by elegant women.

後來，他又用同樣的黃色顏料表現了著名的皮草鑲邊晨衣，這些晨衣都是優雅女性的裝飾。

The rough reddish stitching is not meant to be decorative, and tells us it is a purely practical garment.

粗糙的紅色縫線並非裝飾之用，它告訴我們這是一件純粹的實用服裝。

She wears a heavy blue apron over a red wool skirt, which suggests that the picture was painted in winter.

她身著紅色羊毛裙，外面圍著厚厚的藍色圍裙，這表明這幅畫是在冬天繪製的。

In Vermeer's day, there were a limited number of pigments, and he only used about twenty of them.

在維梅爾的時代，顏料的數量有限，他只用了大約 20 種顏料。

But along with lead-tin yellow, he did use expensive ultramarine a lot.

但除了鉛錫黃，他還經常使用昂貴的群青。

It was made from crushed lapis lazuli, a semi-precious stone imported from present-day Afghanistan.

它是用碎青金石製成的，這種半寶石是從今天的阿富汗進口的。

We know Vermeer struggled financially most of his life, and we think it was his patron,

我們知道維米爾一生中大部分時間都在為經濟問題掙扎，我們認為這是他的贊助人、

Pieter van Rookven, who supplied the artist with such costly pigment.

Pieter van Rookven，他為畫家提供瞭如此昂貴的顏料。

The strange green sleeves are called moosmoorven, or mess-sleeves.

這種奇怪的綠色袖子被稱為 moosmoorven 或 mess-sleeves。

They are not part of the yellow bodies, but are worn separately to protect against staining.

它們並不是黃體的一部分，而是單獨佩戴以防染色。

我們可以在其他作品中看到它們。

Rather than underdrawing, Vermeer used a monochromatic layer, where he would identify tone, lighting and composition.

維米爾使用的不是底稿，而是單色圖層，他將在此確定色調、光線和構圖。

He uses different blocks of colour for different areas of the painting, which adds to the luminosity.

他在畫作的不同區域使用了不同的色塊，這增加了畫作的亮度。

Vermeer famously uses a sort of pointillism in the bread and basket, which suggests light as it flickers off the broken surface of the stale bread.

維米爾在《麵包和籃子》中使用了一種著名的點彩畫法，暗示光線從陳舊麵包的破損表面上閃爍而過。

He uses dabs of ochre to show us the rough edges of the dry bread, giving us a texture which suggests staleness.

他用點點赭石向我們展示了乾麵包的粗糙邊緣，給我們一種暗示著陳舊的質感。

We first see his use of pointillé in this painting, and the technique appears in about half of Vermeer's works.

在這幅畫中，我們第一次看到他使用點彩，這種技法出現在維梅爾大約一半的作品中。

The entire still life on the table is a masterpiece, that uses a combination of thin glazes, impasto, colour and a perfect depiction of light refraction on every single crumb.

桌上的整個靜物是一件傑作，它綜合運用了薄釉、浮雕、色彩以及對每一塊麵包屑上光線折射的完美描繪。

Unusually for the time, Vermeer uses impressionistic dabs of blue here, which act as reflective highlights and intensifies the brick colour of the stoneware.

與當時不同的是，維米爾在這幅畫中使用了印象派的點狀藍色，作為反光的亮點，強化了石器的磚色。

Kitchen maids were often portrayed in Dutch paintings and literature as discrete objects of desire and sexually threatening to the home.

在荷蘭繪畫和文學作品中，廚房女僕往往被描繪成離散的慾望對象，對家庭構成性威脅。

Vermeer possibly acknowledged the tradition of the maid as a sexual being by placing one of the delft tiles behind her depicting Cupid.

維米爾在女僕身後放置了一塊描繪丘比特的德爾福瓷磚，這可能是對女僕作為性存在的傳統的認可。

It is thought that she is in a cold kitchen, because here we can see a foot warmer.

人們認為她是在一個寒冷的廚房裡，因為在這裡我們可以看到一個暖腳器。

These were wooden perforated boxes with hot coals inside.

這些都是木製穿孔箱，裡面裝有熱炭。

There is a possibility Vermeer was using the foot warmer symbolically, as in popular literature they were often associated with the heat of sex.

維米爾有可能是在象徵性地使用暖腳器，因為在通俗文學中，暖腳器往往與性愛的熱度聯繫在一起。

More likely he is referring to her inner warmth.

更有可能的是，他指的是她內心的溫暖。

The 17th century male viewer would have noticed the contrast of the rough leather sleeves with the fleshy nudity of her exposed forearm, which they would have found titillating.

17 世紀的男性觀眾會注意到粗糙的皮袖與她裸露的前臂肉感的對比，他們會覺得很刺激。

字幕列表影片播放

約翰內斯-維米爾的《擠奶女工》：偉大藝術解讀 (The Milkmaid by Johannes Vermeer: Great Art Explained)

perspective

technique

accurate

sense