Rembrandt, Self-Portrait발음듣기
대기중
Rembrandt, Self-Portrait
36문장
0% 일본어
번역 0명 참여
출처 : 칸아카데미
번역
0%
[Voiceover] And how even to look at oneself with an honesty and directness that he is looking at himself with in a mirror.발음듣기
대기중
[Voiceover] We're in a room filled with Rembrandts, and if you look at the other portraits, for instance, look at the portrait of a Young Man, you get a sense of the social distance that would have existed in the studio when Rembrandt was painting, and this man sat with a kind of reserve, and there was a social propriety.발음듣기
대기중
[Voiceover] The young man that we see here likely commissioned the portrait and was paying Rembrandt to make something for him, so there was definitely a hierarchy there.발음듣기
대기중
[Voiceover] Maybe it's because Rembrandt doesn't need to flatter this sitter and in fact, his purpose seems to be just the opposite, to find every imperfection, every wrinkle.발음듣기
대기중
There are times when he's in costume with Saskia, his wife, on his knee, but then later in self-portraits like this, you really see this introspective look.발음듣기
대기중
[Voiceover] And you feel the way that Rembrandt layered this thick paint on the face, and the rest is very loosely brushed, but the face has like a sense of being really worked, the light moving across it from light to dark, and light again, and then picking up folds and picking up the hair on his face.발음듣기
대기중
[Voiceover] But it's also the muscles and the changes, the subtle shifts in the architecture of that face that is being brought out by those brush strokes.발음듣기
대기중
[Voiceover] If you think about the Caravaggesque use of dramatic lighting, so you go from an area of stark illumination to an area of shadow, usually that area is demarcated in a very clear way.발음듣기
대기중
Here in Rembrandt, there's a movement in and out of light that I think adds to that emotion.발음듣기
대기중
It's because of Rembrandt's own careful observation about what's he's seeing, but it's also about the fact that we can feel his hand moving the brush across the surface, and so there's a kind of double intimacy.발음듣기
대기중
[Voiceover] Well, we do know that this was especially a vulnerable moment in Rembrandt's career.발음듣기
대기중
He had been a very famous, sought-after portrait-painter in Amsterdam, but had reached too far financially, he had gone into debt and just a year or two before this painting, he had declared bankruptcy and had to sell his assets to pay his creditors.발음듣기
대기중
[Voiceover] His wife that he loved very much, Saskia, had died, but I think that you can step into the biographical a little too much and weave this painting through the pain of those experiences.발음듣기
대기중
[Voiceover] As people do (laughs) by the time they reach the age that Rembrandt has, so we really don't need to read the biography to know that by the time you reach 53, that one is wiser, one has experienced, one has lived through the death of loved ones.발음듣기
대기중
칸아카데미 더보기더 보기
-
151문장 0%번역 좋아요3
번역하기 -
T.A. McCann - Translating from ideas to execu...
31문장 0%번역 좋아요0
번역하기 -
How Did Earth and the Solar System Form?
113문장 0%번역 좋아요5
번역하기 -
33문장 3%번역 좋아요1
번역하기
