露丝·伯纳德·伊泽尔（Ruth Bernard Yeazell），耶鲁大学英文系斯特林教授，研究生院院长，她的研究主题广泛涉及18—20世纪的小说、性与性别史、视觉艺术与文学的关系等。她长期为《纽约书评》、《伦敦书评》撰稿，其专著包括《心灵的闺室：西方艺术与文学片段》（Harems of the Mind: Passages of Western Art and Literature）、《日常生活的艺术：荷兰绘画与现实主义小说》（Art of the Everyday: Dutch Painting and the Realist Novel）等。
露丝·伯纳德·伊泽尔（Ruth Bernard Yeazell），耶鲁大学英文系斯特林教授，研究生院院长，她的研究主题广泛涉及18—20世纪的小说、性与性别史、视觉艺术与文学的关系等。她长期为《纽约书评》、《伦敦书评》撰稿，其专著包括《心灵的闺室：西方艺术与文学片段》（Harems of the Mind: Passages of Western Art and Literature）、《日常生活的艺术：荷兰绘画与现实主义小说》（Art of the Everyday: Dutch Painting and the Realist Novel）等。
In contrast to the poet, Du Bos argues, the painter cannot arouse our interest in unknown persons by granting them appealing characters and thus must con ne himself to representing gures we already know: “his great merit consists in making us recognize these figures with certainty and ease.” Yet while all visual artists face this limitation by Du Bos’s account, the discussion that follows makes clear that he is thinking above all of easel paintings and of the particular challenge posed by their capacity to travel. “If the subject of frescoes painted on great walls or of those large pictures that remain always in the same place is not well known, it may become so,” he argues; but “easel paintings, destined often to change place and owner alike,” apparently do not benefit from such local co... (查看原文)
I have many times been surprised that painters, who have such a great interest in making us recognize the gures they want to use in order to move us, and who must encounter so many difficulties in making them recognized with the aid of the brush alone, do not always accompany their historical pictures with a short inscription. Most spectators, who are otherwise very capable of doing justice to the work, are not learned enough to guess the subject of a picture. For them it is sometimes like a beautiful woman who pleases but who speaks a language they do not understand at all. People soon grow tired of looking at her, because the duration of such pleasures, in which the mind has no part, is very short.
“the sense of the Gothic painters, however coarse it was, made them realize the utility ... (查看原文)
露丝·伯纳德·伊泽尔 作者
3 有用 北大小马 2024-06-17 13:11:32 江苏
一本书的标题确实会勾引人的阅读欲望,此书的标题便是其中之一。大家看画的目光不知道多少被图像表层吸取，又有多少被不起眼的图题和趣味性一般、但知识性很强的介绍所吸引。拿我来说，我有可能先扫一眼前者，再聚精会神地阅读后者，然后再将目光持续投注到画面上。还有就是一幅名画的标题真的高度浓缩了图像的内容？还是历史的巧合，以讹传讹一直流转到今天。作者还是提出了一些独特的看法，考察了文学性修辞与图画表达从不和解到... 一本书的标题确实会勾引人的阅读欲望,此书的标题便是其中之一。大家看画的目光不知道多少被图像表层吸取，又有多少被不起眼的图题和趣味性一般、但知识性很强的介绍所吸引。拿我来说，我有可能先扫一眼前者，再聚精会神地阅读后者，然后再将目光持续投注到画面上。还有就是一幅名画的标题真的高度浓缩了图像的内容？还是历史的巧合，以讹传讹一直流转到今天。作者还是提出了一些独特的看法，考察了文学性修辞与图画表达从不和解到和解再到分立的过程。绘画的艺术终究是一种思想的艺术，它可以包容图像和文字，题目也会为它生成光晕。另外作者对一些画家作品题名的剖析，比如老勃鲁盖尔、玛格丽特、库尔贝还是蛮有意思的，不过不相关的废话太多。有营养的话约20%，没营养的水字数估计有40%，剩下的萝卜青菜，各有所爱了。 (展开)
0 有用 Paradox（蒽） 2024-11-05 01:10:44 上海
有趣的
0 有用 阿墟 2024-04-21 10:51:04 浙江
非常好看！译得也好！
1 有用 白兔浮绿水 2024-02-22 17:34:35 广西
材料很有意思，史料有参考价值，论述很有逻辑，但是言词实在是太太太太太啰嗦了对川字纹不友好🤣
1 有用 谁人肩膀砸佩鱼 2023-10-09 11:33:11 北京
当我们学会了用说废话来当做对工作的严谨，那这些文章还读来做什么呢