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艺术与建筑:爱德华·霍普 – 译学馆
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艺术与建筑:爱德华·霍普

ART/ARCHITECTURE - Edward Hopper

Edward Hopper is a painter
爱德华·霍普的画作
of gloomy paintings that don’t make us feel gloomy.
通常有着阴郁主题而不叫人感到忧伤
Instead, they help us to recognize the loneliness that so often
相反 他的画能让我们意识到
lies at the heart of sadness.
孤独常常是悲伤的核心
In his Automat women sits alone
在他的画《自助餐厅》 中
drinking a cup of coffee
一个女人坐着独品咖啡
It’s dark outside,
窗外一片漆黑
and judging by her hat and coat, it’s cold.
从她的衣帽可看出 当时天气寒冷
The room is large, empty and brightly lit, the decor is functional,
餐厅宽敞空旷 灯火通明 装饰布局实用
and she seems slightly self-conscious, and little a afraid.
她看起来有些许紧张 有一丝害怕
Perhaps, she’s not used to sitting alone in a public space
她可能不太习惯独自一人呆在公共场所
something seems to have gone wrong,
好像哪儿有点不对劲
and the viewer is invited to invent stories for her
观画的人开始浮想联翩 她是被背叛了呢
of betrayal, or loss
还是失去了什么呢
She maybe trying not let her hand shake,
可能是为了不让自己的手颤抖
as she takes the coffee cup to her lips,
她端起咖啡准备喝
It might be eleven at night, on a dark February night,
当时也许是二月间北美的夜晚11点
in the North America
夜已深了
Automat is a picture of sadness,
《自助餐厅》描绘了一个悲伤画面
and yet it is not a sad picture.
然而它不是一幅悲伤的画
There can be something enticing, even charming,
这位无名就餐者身上的某些东西
about anonymous diners.
吸引着我们 令我们着迷
The lack of domesticity,
画中家庭生活的缺乏
offers a relief, from what can be, the false comforts of home.
将我们从家庭生活的虚幻抚慰中解脱出来
It may be easier to give way to sadness here,
与饰有墙纸和带框相片的舒适客厅相比
than in a cozy living room with wallpapers, and framed photos.
在他的画作面前我们更容易向伤感屈服
Home often appears to have betrayed Hoppers characters.
霍普的画中人物通常都如被家庭抛弃了一般
Something has happened there, that forces them out in to the night, and on to the road.
家中发生的一些事情 迫使他们离家来到夜晚的路上
The 24 hour diner, the train station waiting room, and the motel,
24小时简易餐厅 火车站等候室以及汽车旅馆
are all sanctuaries for those, who for sound reasons,
为那些出于合理原因
have failed to find their place, in a normal world of relationships, or community.
在人情社会或集体中找不到栖身之地的人提供了庇护所
Hopper’s ability to portray solitude,
霍普描绘孤独的才能
came from his own familiarity with it.
源自他自己对孤独的深刻体会
He was born in 1882, in a shipbuilders town,
他于1882年出生在纽约州
Upper Nyack, New York.
一个造船小镇上柰亚克
He lived a nice, middle class childhood, as a son of a merchant.
身为商人之子 他拥有快乐的 过着中产阶级生活的童年
And, yet inside, Hopper often felt awkward,
然而霍普内心总觉得很别扭
indeed a bit like an outsider.
感到有点像是局外人
In one early portrait, we see him gazing,
在他早期的一幅自画像中
almost distrustfully, at the viewer.
他几乎是以不信任的目光凝视着观众
Hopper longed to be an artist, and yet his parents insisted,
霍普渴望成为一名独立的艺术家
he trained an commercial art, to keep afloat financially.
而他父母坚持要求他学习商业美术以获稳定收入
He hated it, and to escape, he took several trips to Paris,
他厌恶为赚钱而艺术的生活 为了逃离
under the pretense of studying french art.
他以学习法国艺术为借口跑了几趟巴黎
But in truth, he didn’t feel a connection to the salons,
但事实上 他对法国的沙龙艺术并不感兴趣
he absorbs some of the impressionist, but forgot Picasso’s name.
他吸收了一些印象派技法 却连毕加索的名字也忘了
He preferred to be outdoors,
他更情愿呆在户外
watching children playing in the Luxembourg gardens,
看着孩子们在卢森堡公园玩耍
listening to concerts at Tuileries,
去杜伊勒里宫听音乐会
or travelling up and down the Seine, by boat
或乘船在塞纳河中上下穿行
In 1913, when Hopper was 31,
1913年 也就是他31岁时
he settled in Greenwich Village, in New York,
他在纽约的格林威治村安居下来
where he would stay for the rest of his life.
他在那里度过了余生
This is where he discovered
正是在那儿 他发现
how crowded, and yet isolated, life could be in the city.
都市生活是多么的拥挤不堪又孤独寂寥
The population of American cities was skyrocketing,
那时 美国城市的人口猛增
and yet, they were inhabited by passing strangers,
然而 那里的居民互不相识
who were increasingly alienated from one another.
并且彼此间日益疏远
Hopper would ride the L-train, and look down at, in his own words,
他说 搭乘纽约地铁L线向下俯视时感受到
“Dark glimpses of office interiors, that were so fleeting
“投向车窗外办公室内部模糊而飞快的一瞥
as to leave fresh and vivid impressions on my mind”.
给我留下了生动鲜明的印象”
In each room, a separate drama was unfolding,
一间间房中各自独立地上演着一出出戏剧
an unnoticed oblivious island, in the sea of people.
就像是茫茫人海中毫不起眼的小岛
Although Hopper painted at New York for over a decade,
尽管霍普在纽约作画超过十载
his paintings failed to sell,
他的画还是卖不出去
and he often struggled to find inspiration.
他常常还得竭力寻找新的灵感
Then in his early-forties,
四十岁出头时
he met a beautiful social painter, named Josephine.
他遇见了美丽的社会风俗画家约瑟芬
Edward and Josephine took excursions to paint by the sea,
爱德华和约瑟芬一起远足到海边画画
they went to the movies, they went to the theatre,
一起去看电影 一起去剧院
and eventually, they got married.
最终 他们结婚了
Hopper was no longer, so alone.
霍普不再那么孤单了
But, of course, as most of us discover in our relationships,
当然 就像大多数人从亲密关系中察觉到的那样
Hopper’s marriage didn’t permanently end his feelings of isolation, and woe.
霍普的婚姻没有永远消除他心头的孤独与悲哀
He still felt lonely at times.
他偶尔仍会感到孤独
He and his wife, couldn’t quite figure out their sex life,
他们的性生活进行得并没有那么顺利
and she often seemed to prefer, the company of her cat.
看起来 她常常更喜欢和她的猫呆在一起
Hopper discovered that even, when somebody loves us very much,
他意识到 即便世上存在深爱着我们的人
There is always some essential part of us, that remains alone.
总有一部分至关重要的自我 始终孤独
It is, this recognition that makes his paintings so compelling,
正是这种认识令他的画作如此引人入胜
and indeed, by addressing loneliness,
的确 通过对孤独的强调
the art can at it’s most therapeutic.
艺术发挥了它最强大的治愈力量
Consoling us, and reassuring us that
艺术抚慰着我们 宽慰我们说
estrangement, and sorrow are normal,
疏离与悲伤是再正常不过的情感
and that we are neither strange nor shamefull, for experiencing them.
经历这些情感既不会令人变得怪异 也不丢人
Sad and lonely art, allows us as viewers,
悲伤而孤独的艺术使我们能作为观者
to witness an echo, of our own grieves and disappointments.
见证我们自身悲哀与失落的回响
And therefore, to feel less personally persecuted, and pursued by them.
我们也因而不会那么强烈地感受到它们的穷追不舍
Hopper’s art helps us to notice,
霍普的艺术有助于我们注意到
the landscapes of loneliness in our own lives.
我们自身生活中的孤独景象
A side effect, of coming into contact with any great artist,
与任何一位伟大艺术家的接触都会产生副作用
is that we become more aware of the things that the painter would had been receptive to.
即我们会对那位艺术家已接受的事物更为在意
Nowadays we’ve become to accustomed what one might call a “hopperesque”,
现今 我们已经熟悉了“霍普式”风景
a quality found, not only in the North American places that Hopper visited,
霍普式风景不仅存在于北美那些霍普曾探访过的地点
but anywhere in the developed world,
而且在发达国家随处可见
where there are motels, and service stations,
只要那里有汽车旅馆 服务站
roadside diners, and airports, bus stations,
路边餐馆 机场和公交站
and all night supermarkets.
以及整夜开放的超市
For example, service stations readily evoke Hopper’s famous “Gas”,
比如加油站就轻易激起他创作那幅著名《加油站》的灵感
painted thirteen years after “Automat”.
此画绘制时间比《自助餐厅》晚13年
In this painting, we see a petrol station on it’s own, in the impending darkness.
我们看到 这幅画中加油站孤零零地立在迫近的暮色中
The isolation is made poignant and enticing.
这种孤独感是那样深切与令人着迷
The darkness that spreads like fog from the right of the canvas,
黑暗如雾一般 从画布的右端弥漫开来
contrast with the security of the station.
与加油站带给我们的安全感形成对比
Against the backdrop of night in the wild woods,
相比处在城市的耀眼日光下
and the last outpost of humanity,
身在野树林的荒野之夜
a sense of kinship seems easier to develop,
与人类踪迹的最后哨站中
than in daylight in the city.
一种亲密的感情更易产生
Hopper loved the introspective mood that travelling often puts us in to.
霍普喜爱旅行带给我们的内省心绪
He liked painting the atmosphere inside
他喜欢描绘穿梭于自然风景中
half empty train carriages, making their way across the landscape.
那半空的火车 车厢里的独特氛围
But we can stand outside our normal selves and
但我们可以走出那个日常的自我
look over our lives in a way that we don’t,
从不那么固定的角度
in more settled circumstances.
审视我们自己的人生
We have all known the atmosphere inside Hopper’s car C No. 293
我们都知晓霍普的画《293号车C舱》中描绘的气氛
that perhaps we have not recognized it as well,
但在霍普用画笔将它描绘出来之后
as when Hopper has held the mirror up to it.
我们或许对它才有所察觉
After Hopper’s marriage, his professional life suddenly improved as well.
婚后 霍普的事业也突然有了进展
He felt more creative,
他感到自己更有创造力了
it was the era of the great depression,
那正是经济大萧条时期
and yet his paintings began to sell.
但他的画也开始卖出去了
Critics rated, museums bought his work,
评论家给画估价 博物馆将画买下
and he received awards.
并且他还获了奖
Yet despite his succes, he remained deeply introverted,
即便是在取得成功后 他的个性仍然相当内向
and instead of escaping his solitude, he embraced it.
他没有逃避孤独 反而欣然投入它的怀抱
For decades, he turned down the awards,
几十年里 他拒绝接受颁奖
rejected the speaking opportunities,
拒绝公开讲演
and lived simply, out of the public eye.
在公众的视线之外过着简朴的生活
He died in 1967,
他于1967年逝世
and yet his art remains,
但他的艺术仍然留存
and retains the ability to help us to see, the loneliness in our own lives,
并保留了帮助我们从更为明智与成熟的角度
from a wiser, and more mature perspective.
认识我们生命中的孤独的能力
Oscar Wilde, once remarked
奥斯卡·王尔德曾说
that there had been no fog in London, until Whistler painted it.
伦敦的雾 是直到惠斯勒描绘之后才有的
There was of course lots of fog,
事实上伦敦是有不少雾的
it was just that it was harder to notice it’s qualities,
只是 如果不是惠斯勒将我们的目光引向它们
without the example of Whistler, did direct our gaze.
我们很难注意到雾的特质
What was said of Whistler, we may well say of Hopper.
对惠斯勒的评价在霍普身上同样适用:
That there were far fewer strangely haunting and consolingly beautiful
霍普开始作画之前 那些奇诡而抚慰人心的美丽景致
service stations, and train carriages, motels and diners,
包括那些服务站 火车车厢 汽车旅馆以及路边餐厅
before Hopper began to paint.
几乎不曾存在过

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视频概述

爱德华·霍普,一位“用画写诗的孤独者”。他的画常以孤独的城市生活为主题,但孤独中却自有一份安谧。

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收集自网络

翻译译者

Clio

审核员

审核员LJ

视频来源

https://www.youtube.com/watch?v=rluUMpndKbo

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