《经济学人》读译参考：梦想的精粹—画展评论.docVIP

《经济学家》读译参考 Translated Edited by Chen Jilong PAGE  Page  PAGE 6 of  NUMPAGES 6 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 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. 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. His melodramatic “King Lear Weeping over the Body of Cordelia” and his sexually charged “★Jupiter and Juno on Mount Ida[7]”, now both part of a retrospective of the artists work in Cork, （2）proved too full of feeling for a British audience raised on portraits and landscape paintings. His only loyal patron was Edmund Burke, who had ★coined[8] a theory of the Sublime. Barry felt he was a persecuted soul, and he painted himself as various il