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之每天讀一點(diǎn)英文之那些光影飛華的魅惑
 
40  The Influence of Cézanne
追蹤大師：塞尚的影響力

Paul Cézanne, who died in 1906, cast a long shadow across 20th-century art.Pablo Picasso, who, with Georges Braque, invented cubism, called him“my one and only master”.
保羅·塞尚死于1906年，他對(duì)整個(gè)二十世紀(jì)的藝術(shù)產(chǎn)生了深遠(yuǎn)的影響。開創(chuàng)了立體派的帕伯羅·畢加索，與喬治·布拉克都稱他為“我心 中獨(dú)一無二的大師”。

Henri Matisse, Picasso’s rival for supreme artist of the modern period, described him as“a sort of god of painting”.
同處現(xiàn)代藝術(shù)巔峰，與畢加索相提并論的亨利.馬蒂斯也說：“塞尚于畫，如幻如神。

Critics and scholars may disagree about pinpointing the first stirrings of modern art, but few deny Cézanne’s pivotal role as midwife.
評(píng)論家和學(xué)者們也許對(duì)確定現(xiàn)代藝術(shù)的開創(chuàng)者意見不一，但是幾乎沒有人否認(rèn)塞尚作為助產(chǎn)士一樣的關(guān)鍵作用。

His fracturing of form and flattening of space, especially evident in his landscapes and still lifes, laid the foundation for cubism, the revolutionary movement that planted radical ideas firmly in the minds of young painters in Europe and America.
他使形狀分裂，將空間壓扁，在他的風(fēng)景畫與靜物畫中尤為明顯，這為立體派奠定了基礎(chǔ)。立體派是一種革命性的變化，它在歐美青年畫家的心目中已深深扎根。

Cézanne’s influence was strongest during the generation after he died, but it has proved remarkably persistent.
塞尚對(duì)他下一代人的影響是最強(qiáng)烈的，此外也被證實(shí)是極為持久的。

Only now, a century later, when electronic media such as photography and video have wrested control of the vanguard from painting, is Cézanne’s shadow beginning to fade.
只是在一個(gè)世紀(jì)后的現(xiàn)在，當(dāng)電子媒介諸如攝影和錄像從繪畫中奪取了對(duì)先鋒地位的控制后，塞尚的影響才開始漸漸減弱。

However, until mid-May he continues to display his authority at the Philadelphia Museum of Art, which has mounted an enchanting exhibition designed to validate the claims of Picasso, Matisse and 14 other legatees whose art has been shaped by Cézanne’s example.
然而，費(fèi)城藝術(shù)博物館正在舉辦一個(gè)吸引人的展覽會(huì)，它的目的在于證實(shí)畢加索、馬蒂斯和其他14位繼承塞尚風(fēng)格的藝術(shù)家們的斷言，這14人的藝術(shù)都形成于塞尚畫作范例的影響。到五月中旬為止，塞尚繼續(xù)顯示著他的影響力。

“Cézanne and Beyond”juxtaposes about 60 paintings and watercolours by the French master with roughly twice that many by the others: Europeans such as Piet Mondrian, Fernand Léger, Max Beckmann and Alberto Giacometti, and Americans—Marsden Hartley, Charles Demuth, Jasper Johns and Ellsworth Kelly.
“塞尚與穿越”將這位法國大師創(chuàng)作的大約60幅油畫和水彩畫與其他畫家創(chuàng)造的大約120幅畫同時(shí)展出：有歐洲畫家諸如彼?！っ傻吕锇病①M(fèi)爾南德·萊熱、馬克斯·貝克曼和阿爾伯特·賈赫梅蒂，美洲畫家如馬斯登·哈特利、查爾斯·德穆斯、賈斯泊·約翰斯和埃爾斯沃思·凱利。

The aim is to illuminate stylistic similarities and show how Cézanne expanded the way artists think.Confronted by such iconic subjects as Mont St Victoire near Cézanne’s home in Aix-en-Provence and his magisterial still lifes of apples, they could no longer simply reproduce nature, they had to deconstruct it.
展覽的目的是闡釋這些藝術(shù)風(fēng)格的相似點(diǎn)，和表現(xiàn)塞尚怎樣拓展了藝術(shù)家們的思考方式。面對(duì)這樣的繪畫題材，像在普羅旺斯地區(qū)塞尚家鄉(xiāng)附近的《圣維克托瓦爾山》和他的重要靜物畫《蘋果》，藝術(shù)家們不可能再簡(jiǎn)單地臨摹自然，他們必須拆分解析它。

The cubists provide the most vivid examples of this transformation but the most contemporary of the 16, especially Mr Kelly, Brice Marden and Canadian photographer Jeff Wall, have devised more subtle ways of incorporating Cézanne’s principles into their work.
立體派藝術(shù)家提供了這種變化的最鮮明的例子，但是16位當(dāng)代藝術(shù)家，特別是凱利、布萊斯·馬爾頓和加拿大攝影家杰夫·沃爾創(chuàng)造了更精湛的將塞尚的原理融入他們的作品中去的方法。

“Cézanne and Beyond”is a beautiful and powerful collection of modern and post-modern art by some of the most talented painters of the past 100 years.
“塞尚與穿越”是出色而有影響的由過去100年間最有才華的畫家們創(chuàng)作的現(xiàn)代派與后現(xiàn)代派藝術(shù)的作品集。

It is also the most impressive survey of Cézanne’s painting in America since a 1996 retrospective, (also in Philadelphia as well as London and Paris).
它也是自1996年的回顧展（也是在費(fèi)城，還有倫敦和巴黎）以來，塞尚的繪畫在美國最令人難忘的縱覽。

This time it is three exhibitions in one, courtesy of the last old Master.
蒙上述這位繪畫大師的恩惠，這次是三個(gè)展覽會(huì)合在一起舉行。

實(shí)戰(zhàn)提升

Practising&Exercise

cubism n. 立體派；立體主義
radical n. 基礎(chǔ)；激進(jìn)分子；[物化] 原子團(tuán)；[數(shù)] 根數(shù)
fade vi. 褪色；凋謝；逐漸消失
vivid adj. 生動(dòng)的；鮮明的；鮮艷的

實(shí)用句型&詞組

Strawberries disagree with me.（不適宜，有害）
He denied any role in the robbery.（作用，任務(wù)）
He wrote back to her out of courtesy.（殷勤，好意）

學(xué)習(xí)更多：

塞尚對(duì)他下一代人的影響是最強(qiáng)烈的，此外也被證實(shí)是極為持久的。
評(píng)論家和學(xué)者們也許對(duì)確定現(xiàn)代藝術(shù)的開創(chuàng)者意見不一，但是幾乎沒有人否認(rèn)塞尚作為助產(chǎn)士一樣的關(guān)鍵作用。
展覽的目的是闡釋這些藝術(shù)風(fēng)格的相似點(diǎn)，和表現(xiàn)塞尚怎樣拓展了藝術(shù)家們的思考方式。