Make an Impression
美音、自然拼读、分级阅读与词汇复习
Table of Contents New Art for a New Paris.
新巴黎新艺术目录.
4 Rebelling Against Tradition.
4"反传统起义".
6 Change the Subject.
页:1 改变主题。
8 New Techniques.
8 新技术。
9 Getting the Picture.
9 获取图片。
12 Conclusion.
12 结论。
14 Glossary.
14 词汇表。
16 New Art for a New Paris Paris, France, was in a period of change in the mid- nineteenth century.
16 法国新巴黎新艺术,19世纪中后期为一变相.
So was its art world.
它的艺术世界也是
A group of artists decided to rebel against the established art scene.
一群艺术家决定反抗既定的艺术场景.
Rather than making formal paintings in the preferred realistic style of the time, they focused on portraying brief, passing moments from everyday life.
与其以当时偏好的现实主义风格制作出正式的绘画,不如专注于描绘从日常生活中短暂而相去不远的瞬间.
The changes in the art world were happening at the same time that a renovation and modernization of the city was taking place.
艺术界的变化与城市的翻新和现代化同时发生.
Paris had not changed much since the Middle Ages, and the city had grown increasingly overcrowded.
巴黎自中世纪以来变化不大,城市日益拥挤.
The narrow, winding streets were filthy, and disease was widespread.
狭窄而通风的街道是肮脏的,疾病很普遍.
As Paris began to change, old streets that were too narrow for carriages were replaced with long tree-lined boulevards.
随着巴黎开始改变,对马车来说过于狭窄的老街被取而代之的是长树行道.
Cafés, theaters, open-air parks, and squares were constructed, along with a grand opera house.
建造了咖啡馆,剧院,露天公园和广场,还有一座宏伟的歌剧院.
Wealthy people were drawn to the city, where they could enjoy the new Paris.
富有的人被吸引到城市,在那里他们可以享受新的巴黎.
Paris was an important place of culture where many artists lived and worked.
巴黎是许多艺术家生活和工作的重要文化地.
Collectors enjoyed combing its art galleries to build their art collections.
收藏家喜欢梳理其艺术画廊来建立艺术收藏.
The most popular art event in the Western world happened every year in Paris.
西方世界最受欢迎的艺术活动每年都会在巴黎举行.
It was called the Salon—an art exhibition in which paintings covered the walls from floor to ceiling.
它被称为沙龙——一个艺术展览会,画作从地上到天花板都覆盖了墙壁.
Art featured in the Salon instantly became desired by collectors.
沙龙上的艺术 立刻被收藏家们喜欢
The conservative artists who selected the artwork for the Salon were especially fond of formal portraits and historical, mythical, or religious subjects.
为沙龙挑选艺术品的保守派艺术家特别喜欢正式的肖像画以及历史,神话或宗教主题.
An example of the type of work favored at the Salon is the Princesse de Broglie (PRAHN-sess DU BROY), a portrait of a wealthy Frenchwoman by Jean-Auguste-Dominique Ingres (ZHAHN oh-GOOST doh-mee-NEEK AN-gruh) (1853).
沙隆最受青睐的作品有: 布罗格利公主(PRAHN-sess DU BROY),由让-奥古斯特-多米尼克·英格雷斯(ZHAHN oh-GOST doh-mee-NEEK AN-gruh)出品的法国富人相片 (1853).
The fine brushwork and sharp attention to detail are realistic, a style highly valued at the time.
精细的刷子和对细节的尖锐关注是现实的,这种风格在当时很受重视.
The Old School Rebelling Against Tradition Just as Paris had been remade, many young artists yearned to change the way people thought about art.
旧学校反抗传统 正如巴黎被重新造就一样,许多年轻的艺术家渴望改变人们对艺术的看法。
They accomplished this by challenging old traditions, breaking away from what they felt were old-fashioned styles of art.
他们通过挑战古老的传统来完成这个任务,脱离了他们觉得是古老的艺术风格.
Their work was not often chosen for exhibitions at the Salon.
他们的作品不常被选入沙龙的展览会.
When their work was chosen, their pieces were often too poorly placed to attract any attention.
当他们的工作被选中时,他们的作品往往位置太差,无法引起任何注意.
This was frustrating to many young artists who hoped to find wealthy people to become their patrons.
这令许多年轻艺术家感到沮丧,他们希望找到富人成为他们的赞助人。
A patron was a person who gave artists money so they would not have to get other jobs and could instead focus on making art.
一个赞助人是一个给艺术家钱的人,这样他们就不必找其他工作,而可以专注于制作艺术。
Patrons also introduced artists to other wealthy art collectors.
赞助商还向其他富有的艺术收藏家介绍艺术家.
Renoir’s painting Luncheon of the Boating Party (1880–1881) shows people of different classes passing the time in a café.
Renoir的画作是船会的午餐会(1880–1881),
Thirty struggling artists, including Claude Monet (moh-NAY), Edgar Degas (du-GAH), and Mary Cassatt (kuh-SAT), wanted to change the established art scene of the Salon.
包括克洛德·莫内特(英语:Moh-NAY),埃德加·德加斯(英语:Edgar Degas (du-GAH)),和玛丽·卡萨特(英语:Mary Cassatt (kuh-SAT))在内的30名挣扎不已的艺术家想改变萨隆的既定艺术场景.
They banded together to hold their own exhibit in 1874.
他们联合起来在1874年举办了自己的展览会.
Subjects of their work included the way sunlight hits a body of water at a certain time of day and people in a moment of laughter while eating with friends at a café.
他们的工作主题包括日出在某一天打入一具水体的方式,以及人们在咖啡馆与朋友一起吃东西时在欢笑的瞬间.
At the exhibit, Monet showed a painting called Impression, Sunrise (1873).
在展览上,莫内展示了一幅被称作"印象"的画作"日出"(1873年).
It depicted a small rowboat with a hazy view of ship masts and smokestacks in the background.
它描绘了一艘小划艇,船桅和烟囱在背景中有着模糊的视野.
Because of the lack of detail, one art reviewer criticized the work for showing nothing more than simple impressions.
由于缺乏细节,一位艺术评论家批评了这部作品,认为它只表现出了简单的印象.
Rather than depicting the scene as it really appeared, Monet created a painting that shared the effect that the sunrise had on him personally.
莫内没有描绘出真实出现的场景,而是创作出一幅与日出对他个人有相同影响的画作.
The reviewer’s critical description stuck.
评论员的批判性描述被卡住了.
Although the styles of the artists in this group were different, they came to be known collectively as the Impressionists —a group who would define a new art movement.
虽然这个团体中的艺术家的作风不同,但他们逐渐被统称为印象派——这个团体将定义出一个新的艺术运动.
Monet’s Impression, Sunrise inspired a new movement in the history of art.
莫内的印象,"出日出"激发了艺术史上的新运动.
Change the Subject Style was just one way the Impressionists challenged traditional ways of painting.
改变主题风格只是印象派挑战传统绘画方式的一种方式.
Many Impressionists rejected traditional subject matter, moving away from historical and religious scenes or realistic portraiture.
许多印象派人士拒绝传统主题,脱离了历史和宗教场景或现实的肖像.
The Impressionists preferred to show the world as they saw it—they wanted to share their own points of view and celebrate both the beauty and imperfections of ordinary life.
印象派更愿意向世界展示他们所看到的世界——他们想分享自己的观点并庆祝平凡生活的美丽和不完美.
No longer confined to painting portraits and religious scenes, Impressionists could choose from a wide range of subject matter for their work.
印象派不再局限于绘画肖像和宗教场景,而是可以从广泛的题材中选择自己的作品.
For example, Camille Pissarro (pi-SAR-oh) and Alfred Sisley (SIS-lee) often painted landscapes of the French countryside.
例如,卡米尔·皮萨罗(pi-SAR-Oh)和阿尔弗雷德·西斯利(SIS-lee)经常画出法国农村的地貌.
Pierre-Auguste Renoir (pee- AIR oh-GOOST ruh-NWAH) focused on sunlight and its effect on flowers and figures.
Pierre-Auguste Renoir (pee-AIR oh-GOOST ruh-NWAH)专注于阳光及其对花朵和花相的影响.
He also made informal portraits, such as Two Young Girls at the Piano (1892).
他还拍摄了非正式的肖像,如"钢琴会"(1892年)的"两个年轻女孩".
It is an example of how Impressionists could paint traditional works like portraits, but in different ways than had been done in the past.
这是印象派如何将传统作品描绘成肖像画的例子,但与过去不同。
Renoir painted a passing moment in Two Young Girls at the Piano.
雷诺尔在钢琴会的"两个年轻女孩"中画了一段经过的时刻.
New Techniques To capture short-lived moments, the Impressionists had to learn to paint quickly.
新技术 为了抓住短暂的瞬间,印象派必须学会迅速作画.
Monet used a new technique called wet-on-wet.
摩尼特使用了一种叫"湿上湿"的新技术.
He applied layers of color atop each other without waiting for the previous layer to dry.
他施放相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相接相相接相接相接相接相相接相相接相接相相相相接相接相接相接相相接相相接相接相相相相相相相接相接相相相接相相接相相接相相接相接相相接相接相相相接相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相相
In the past, painters had to wait for each layer of paint to dry before adding more color.
过去,画家不得不等每层漆干后再添加出更多的颜色.
Since oil paint can take a full day to dry, a large work could take months or even years to complete.
由于油画需要花上一整天的时间来干燥,一个大型的工作可能需要数月甚至数年才能完成.
Instead of applying broad strokes of color, the Impressionists experimented by applying small touches of paint to capture the way they saw color and light.
印象派没有应用粗略的颜色来取景,而是通过用小触摸的涂料来尝试捕捉他们所看到的颜色和光.
They worked with pure pigments—paints that had not been mixed with other colors.
他们使用纯色的油漆,这些油漆没有与其他颜色相混合。
They placed these colors side by side, mixing colors as little as possible.
他们把这些颜色放在一起,尽可能少地混合颜色.
This new way of painting allowed them to draw contrasts between colors, making each one look bolder and more vivid.
这种新的绘画方式使得它们能够画出颜色之间的对比,使每个颜色看起来更大胆更生动.
Bridge Over a Pond of Water Lilies (1899) is one of eighteen paintings on the subject made by Monet.
Bridge Over a Pond of Water Lilies (1899)是莫内所创作的十八幅关于这个主题的画作之一.
Many Impressionists, like Monet, painted en plein air (ON PLEN AIR), or outdoors—an uncommon practice before this era.
许多印象派人士,如Monet,涂抹了胸膜空气(ON PLEN AIR),或户外——这是这个时代之前的罕见做法.
Artists had traditionally worked in indoor studios, where they had more control over light.
艺术家传统上在室内工作室工作,在那里他们更能控制光线.
By working outdoors, artists could observe and play with natural light and colors.
通过在户外工作,艺术家可以观察并用自然光和颜色来演奏.
Some Impressionists would paint the same scene many times to capture different moments in light, color, and time.
一些印象派人士会多次描绘出相同的场景,以捕捉出光线,色彩和时间的不同时刻.
One example is the series of the British Houses of Parliament painted by Monet over a period of three years.
一个例子是莫内在三年内所画的英国议会大厦系列.
He showed the building at different times of day and in different weather.
他在不同的日子和不同的天气中展示了这座建筑.
Monet painted more than one hundred images of the River Thames in London, including many showing the Houses of Parliament.
莫内为伦敦的泰晤士河画了一百多幅相片,包括多幅展示议会大厦.
Some Impressionists, like Edgar Degas, preferred painting indoors but still portrayed moments of daily life.
一些印象派人士,如埃德加·德加,更喜欢室内绘画,但仍描绘出日常生活中的一瞬间.
Degas’s paintings featured people of everyday Paris—restaurant diners, musicians, and ballerinas.
Degas的画作以每日巴黎餐馆、音乐家和芭蕾舞演员为主。
Degas often sketched ballerinas both backstage at their dance halls and in his studio.
德加斯经常在其舞厅和他的工作室的后台上勾画出芭蕾舞演员.
After many repeated sketches, Degas would be ready to start a painting.
经过多次反复的素描后,德加斯会准备开始一幅画作.
He took his sketches and all he had learned from observing the dancers’ movements and reworked the figures into a scene that he could paint.
他用他的草图和他从观察舞者运动中学到的所有东西,把数字重新整理成他能作画的场景。
In works such as The Ballet Class (1871–1874), no single person comes across clearly as the subject.
在"芭蕾舞团"(1871–1874)等作品中,没有任何一个人作为主体被明确发现.
The painting has a feeling of spontaneity because the ballerinas are backstage practicing—some stretching, some chatting.
因为芭蕾舞演员在后台练习,
They have been captured in a routine moment in their lives.
在他们生活中的例行时刻,他们被俘虏。
Not only are they not posing, but they seem uninterested in the artist and are not even looking out from the canvas.
他们不仅不摆姿势,而且似乎对艺术家不感兴趣,甚至没有从画布上看出来。
Degas’s painting The Ballet Class shows his remarkable ability to capture momentary gestures.
Degas的画 "芭蕾舞团"展示了他捕捉瞬间手势的卓越能力.
Getting the Picture In the mid-1800s, modern photography was developing.
获取图片 1至800年代中期,现代摄影发展.
As the new technology improved, more people had their portraits taken by photographers.
随着新技术的改进,更多的人被摄影师所取取相像.
Photographs took less time than painted portraits, were less expensive, and could more accurately capture a person’s likeness.
照片花费的时间比所画的肖像要少,费用也更低,可以更准确地描绘一个人的相貌.
Rather than compete with photography, artists like the Impressionists wanted to show the ways that their work was unique and that their style could not be replaced.
画家等艺术家与其与摄影相竞争,不如展示出他们作品独特而风格无法被取而代之的方式.
At the same time, the Impressionists were inspired by photography.
同时,印象派也受到了摄影的启发.
By the 1880s, cameras were becoming more portable.
到1880年代,相机的可移植性越来越强.
Photographs became more candid.
照片变得更加坦率。
Just as a photograph could capture a spontaneous moment, painters attempted to do the same.
正如一张照片可以捕捉一个自发的时刻一样,画家也试图这样做.
Their subjects might be simple moments in daily life, such as people waiting for a train or relaxing in a park.
他们的主体可能是日常生活中的简单时刻,比如人们等待火车或者在公园中放松.
Édouard Manet (e-DWAR ma-NAY) was never officially part of the Impressionists, but some of his paintings, such as The Railway (1873), show their influence.
Édouard Manet(e-DWAR ma-NAY)从未正式成为印象派的一部分,但他的一些画作,如"铁道"(1873年),显示出了他们的影响力.
In addition, by using cameras, artists learned to frame scenes in interesting ways.
此外,通过使用相机,艺术家学会了以有趣的方式来设定场景.
This technique is called cropping.
这种技术叫做收割.