Morisot, The Cradle발음듣기
대기중
Morisot, The Cradle
51문장
0% 일본어
번역 0명 참여
출처 : 칸아카데미
Morisot, The Cradle
[Steven] We're at the Muse d'Orsay and we're looking at a painting by Berthe Morisot, The Cradle.
[Beth] This is a lovely painting of a baby in a cradle being watched over by her new mother.
[Steven] Her later work is some of the most radical painting in its extraordinary brushwork.
But, this is an early canvas.
[Beth] This was exhibited at the Impressionist exhibition of 1874.
This is an exhibition of the artists who we now call the Impressionists where they exhibited independently from the official art exhibitions in Paris.
But sadly, this painting was little noticed by the press and the public and remained unsold for several years and in the family until 1930.
[Steven] It was extremely difficult to be a female painter at this time and so it's not surprising that her work received little critical attention.
There were some female painters that were successful.
I'm thinking about Rosa Bonheur for example.
But, for the most part, especially women of Morisot's class.
A woman of her level of affluence would have a quite restricted environment in which they could freely move.
Women were expected to largely exist in the domestic sphere.
[Beth] And, that's what we see in the work of so many women artists at the end of the 19th century.
A lack of access to the more typical subjects of modern life, of cafes and bars this was the space that they had access to and that's what they painted.
And, Morisot would go on to paint many beautiful scenes of family life, but this one is especially poignant.
[Steven] What we're seeing is Morisot's sister looking over her daughter and there's a wonderful intimacy.
The child is angelic, draped under that gauzy net.
And, Morisot' sister looks down at her with a gentle concern that is really moving and beautiful.
[Beth] It recalls for me images of Mary holding the Christ child.
But, in those cases Mary holds the Christ child on her lap.
Here we have a very modern domestic setting with a cradle and a lovely interior in the background with the curtain.
And, we have a sense of a modern woman in modern dress.
Her lowered eyelids, the chin that rests on the hand the other arm that comes forward foreshortened across the cradle suggests a contemplation about the serious responsibilities of motherhood.
But also the incredible affection of motherhood.
[Steven] The fact that this is seen worthy as a subject for a painting is also a reflection of the growth of the idea of the middle class family in the 19th century.
That the domestic space was a protected space an insular space.
[Beth] And I think we see that here.
Not only is the child enveloped in that gauzy material but Morisot's sister herself is enclosed.
On one side of her she has the diagonal of that gauze.
Above, another diagonal formed by the curtain.
And, to the left, the edge of the painting.
So, she is also rather locked in to this domestic space.
[Steven] I wanna spend just a moment looking at a brushwork.
Although there are some fine linear passages that are almost drawn, for instance the fine locks of hair that fall down the woman's temple, much of the brushwork is quite loose and anticipates Morisot's later style.
Look, for example, a the pink fringe at the edge of the netting.
Or the way in which the collar of the woman is rendered.
There's a beautiful looseness here that shows Morisot's extraordinary facility with paint.
[Beth] Virtuosity is what comes to mind when I think of Morisot and the handling of paint.
I notice it also in the white touches of paint that form the top of the curtain.
Or even in her sleeve, those quick circular movements of paint that suggest the texture of her dress.
[Steven] And, then there's choices that Morisot makes in terms of where our attention is going to fall.
Look at the way in which the woman's fingers are painted so flatly.
The upper parts of the fingers, which are foreshortened are virtually not articulated at all.
All that she's chosen to give us is the flat plains of the fingers that are exposed directly to us.
[Beth] I love those fingers their slight sense of fidgetiness.
Unfortunately, I think we still have a tendency to discount images of mothers and children to see them nostalgically and sentimentally.
[Steven] And, if we look around the galleries of the d'Orsay almost every painting is by a man.
Morisot is an exception.
And, if we look at auction prices if we look at the art market female artists are still not given their due.
번역
0%
[Steven] We're at the Muse d'Orsay and we're looking at a painting by Berthe Morisot, The Cradle.발음듣기
대기중
[Beth] This is a lovely painting of a baby in a cradle being watched over by her new mother.발음듣기
대기중
[Steven] Her later work is some of the most radical painting in its extraordinary brushwork.발음듣기
대기중
This is an exhibition of the artists who we now call the Impressionists where they exhibited independently from the official art exhibitions in Paris.발음듣기
대기중
But sadly, this painting was little noticed by the press and the public and remained unsold for several years and in the family until 1930.발음듣기
대기중
[Steven] It was extremely difficult to be a female painter at this time and so it's not surprising that her work received little critical attention.발음듣기
대기중
A woman of her level of affluence would have a quite restricted environment in which they could freely move.발음듣기
대기중
[Beth] And, that's what we see in the work of so many women artists at the end of the 19th century.발음듣기
대기중
A lack of access to the more typical subjects of modern life, of cafes and bars this was the space that they had access to and that's what they painted.발음듣기
대기중
And, Morisot would go on to paint many beautiful scenes of family life, but this one is especially poignant.발음듣기
대기중
[Steven] What we're seeing is Morisot's sister looking over her daughter and there's a wonderful intimacy.발음듣기
대기중
And, Morisot' sister looks down at her with a gentle concern that is really moving and beautiful.발음듣기
대기중
Here we have a very modern domestic setting with a cradle and a lovely interior in the background with the curtain.발음듣기
대기중
Her lowered eyelids, the chin that rests on the hand the other arm that comes forward foreshortened across the cradle suggests a contemplation about the serious responsibilities of motherhood.발음듣기
대기중
[Steven] The fact that this is seen worthy as a subject for a painting is also a reflection of the growth of the idea of the middle class family in the 19th century.발음듣기
대기중
Not only is the child enveloped in that gauzy material but Morisot's sister herself is enclosed.발음듣기
대기중
Although there are some fine linear passages that are almost drawn, for instance the fine locks of hair that fall down the woman's temple, much of the brushwork is quite loose and anticipates Morisot's later style.발음듣기
대기중
Or even in her sleeve, those quick circular movements of paint that suggest the texture of her dress.발음듣기
대기중
[Steven] And, then there's choices that Morisot makes in terms of where our attention is going to fall.발음듣기
대기중
The upper parts of the fingers, which are foreshortened are virtually not articulated at all.발음듣기
대기중
All that she's chosen to give us is the flat plains of the fingers that are exposed directly to us.발음듣기
대기중
Unfortunately, I think we still have a tendency to discount images of mothers and children to see them nostalgically and sentimentally.발음듣기
대기중
[Steven] And, if we look around the galleries of the d'Orsay almost every painting is by a man.발음듣기
대기중
칸아카데미 더보기더 보기
-
55문장 0%번역 좋아요0
번역하기 -
Angela Ahrendts - Former CEO of Burberry
388문장 0%번역 좋아요3
번역하기 -
Putting the right hardware and infrastructure...
36문장 0%번역 좋아요0
번역하기 -
Beginning of the Greco Persian Wars
85문장 0%번역 좋아요2
번역하기
