005《经济学》读译参考之五：梦想的精粹-画展评论.doc

TEXT 5 Stuff of dreams 梦想的精粹 Feb 16th 2006 | CORK AND LONDON From The Economist print edition （译者注：本文是关于画展的评论。） Two exhibitions show how a pair of 18th-century painters, James Barry and Henry Fuseli, inspired the modern visual ★romance with[1] the gothic 两个画展展示的是，两位18世纪画家——詹姆斯?巴里和亨利?富塞利——如何唤起了现代人从视觉上对哥特式艺术的憧憬。 THIS spring the bad boys of British art are ★making a comeback[2]. Not Damien Hirst and his friends, but the original ★enfants terribles[3]—★Henry Fuseli[4] (1741-1825) and James Barry (1741-1806)—who aimed, above all, to depict extremes of passion and terror in what they called the new art of the Sublime. 今春，英国艺术界的坏孩子再次粉墨登场了。我们说的不是达米恩?赫斯特和他的朋友们，而是亨利?富塞利（1741-1825）和詹姆斯?巴里（1741-1806），这两位“莽撞少年”的始作俑者，他们的首要目标就是要用所谓的“新派高尚艺术”去描绘极度激情与恐怖。 Barry and Fuseli are hardly household names; indeed since Victorian times they have been virtually ignored. But in the late 18th century, Fuseli, and for a short time Barry also, were prominent members of the young Royal Academy of Arts (RA) and influential professors of painting there. Barrys ★fall from grace[5] was the most dramatic, but there is much to admire in this irascible Irish artist who, like Fuseli, once taught William Blake. Barrys prolific historical paintings demonstrate his ambition to rival the painters of antiquity and the Renaissance and to practise what the then president of the RA, Sir Joshua Reynolds, always preached—that history painting was the noblest form of art. （1）But Barry found it hard to be bound by rules, and he turned history and myth into a series of ★tableaux[6] that were at once oddly expressionistic and deeply personal.巴里和富塞利这两个名字算不上家喻户晓，实际上自维多利亚时代以来，世人对他们已经不闻不问。不过，在18世纪晚期，富塞利曾经是早期皇家美术学院（RA）的杰出会员和颇具影响力的画师，巴里曾一度也是如此。巴里的失宠于众最富于戏剧性，但跟富塞利一样曾给威廉?布莱克传授过技艺的这位性情暴躁的爱尔兰艺术家，还是拥有许多让人敬佩的地方。他的众多历史性画作都表明，他热望与古代以及文艺复兴时期的画家相抗衡，始终信奉历史画乃是最为尊贵的艺术形式，而这恰恰也是皇家美术学院当时的院长约书亚?雷诺兹爵士所一直倡导的。但是历史画受制于过多约束让巴里感到难以接受，遂将史实与神话融为一体，并用一系列舞台造型加以表现，随即成为与主流格格不入的表现派，并打上了深深的个人主义烙印。 His melodramatic “King Lear Weeping over the Body of Cor