Bonheur, Plowing in the Nivernais발음듣기
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Bonheur, Plowing in the Nivernais
33문장
100% 한국어
번역 4명 참여
출처 : 칸아카데미
Bonheur, Plowing in the Nivernais
We're in the Musée d'Orsay and we're looking at Rosa Bonheur's light filled painting called 'Plowing in the Nivernais.'
That refers to both the region and the kind of oxen that are the stars of this canvas. They are.
The human figure that pushes them along is hardly important.
So Rosa Bonheur did some extraordinary things.
She was an incredibly precocious girl.
I think it was at age fourteen that she was actually sketching in the Louvre and actually creating oil paintings.
This was possible because her father was an artist and had really encouraged her.
I think that they were very liberal.
Otherwise she would not have had her enormous artistic talent encouraged.
She might not've ended up a painter at all.
So this was made in 1849 which is just one year after the revolution and so interesting that an artist now is moving out into the countryside, away from all of the chaos of the city - Where the revolution happened--
And we have this incredible image of these oxen turning the soil in the fall to prepare it for the following year's season and look at the soil itself.
You almost get the sense that here's the strength of France.
The earth looks incredibly rich and fertile.
So there is a sense of a kind of nationalistic idea of the French countryside and that France will survive and indeed thrive.
And those oxen are so powerful and so beautiful and, in a sense, so eternal.
You know, this is a ritual that has gone on long before the politics of the modern world.
And will continue long after.
They come forward in a receding diagonal that moves into our space so that we have this sense of depth and atmospheric perspective and sense of weather and the warmth of the sunlight...
It's really so particularly and carefully observed and it reminds me so much that we see of the 1840s and then into the 1850s of this interest in rural life, of laborers, of the virtues of the countryside.
Yeah, when I look at this, the oxen, those backs are so beautifully aligned, they almost create their own horizon like the hills beside them and so, in a sense, they are the earth itself.
There is this sense of permanence.
I think throughout the 1840s, especially with the kind of industrialization and growth of the cities that's taking places that there is this real desire to return to this much more basic truth.
Which resides in nature and the countryside.
And in labor itself but in a kind of simple, very direct kind of labor.
So do you think that Rosa Bonheur is giving us a conservative vision at this moment just after a very radical revolution of 1848 that brings the working class into power in a significant way?
I think that there are conservative aspects here but it's more complicated than that.
She's breaking too many boundaries.
She's emphasizing the importance of landscape, of animal painting itself, on a scale that is often reserved for history painting.
She's a woman not painting interiors, not painting as an amateur but is painting at the level of the highest professional.
These are radical ideas and I don't think that we can see this as conservative painting.
And really remarkable accomplishments.
번역
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We're in the Musée d'Orsay and we're looking at Rosa Bonheur's light filled painting called 'Plowing in the Nivernais.'발음듣기
대기중
That refers to both the region and the kind of oxen that are the stars of this canvas. They are.발음듣기
대기중
I think it was at age fourteen that she was actually sketching in the Louvre and actually creating oil paintings.발음듣기
대기중
So this was made in 1849 which is just one year after the revolution and so interesting that an artist now is moving out into the countryside, away from all of the chaos of the city - Where the revolution happened--발음듣기
대기중
And we have this incredible image of these oxen turning the soil in the fall to prepare it for the following year's season and look at the soil itself.발음듣기
대기중
So there is a sense of a kind of nationalistic idea of the French countryside and that France will survive and indeed thrive.발음듣기
대기중
They come forward in a receding diagonal that moves into our space so that we have this sense of depth and atmospheric perspective and sense of weather and the warmth of the sunlight...발음듣기
대기중
It's really so particularly and carefully observed and it reminds me so much that we see of the 1840s and then into the 1850s of this interest in rural life, of laborers, of the virtues of the countryside.발음듣기
대기중
Yeah, when I look at this, the oxen, those backs are so beautifully aligned, they almost create their own horizon like the hills beside them and so, in a sense, they are the earth itself.발음듣기
대기중
I think throughout the 1840s, especially with the kind of industrialization and growth of the cities that's taking places that there is this real desire to return to this much more basic truth.발음듣기
대기중
So do you think that Rosa Bonheur is giving us a conservative vision at this moment just after a very radical revolution of 1848 that brings the working class into power in a significant way?발음듣기
대기중
She's emphasizing the importance of landscape, of animal painting itself, on a scale that is often reserved for history painting.발음듣기
대기중
She's a woman not painting interiors, not painting as an amateur but is painting at the level of the highest professional.발음듣기
대기중
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