level 9
小小书世界
楼主
画作名称： Madame Jeantaud au miroir中文名称： 镜中的詹陶夫人
画 家： 德加（Edgar Degas）
作品年份： 约1875年
原作材质： 布面油画
画作尺寸： H. 70; W. 84 cm
馆藏链接： 奥赛博物馆
The familiar, comfortable realism of this painting is characteristic of the portraits of the 1870s, but the composition is highly original. Indeed the model appears in a three-quarter view with her head turned away and seems to be glancing at herself in the mirror before she goes out. The reflection therefore seems to be looking straight at the spectator, who is caught in the centre of a complex series of glances from Berthe-Marie to the spectator via the mirror. The mirror, symbolising the virtual and the illusory, short circuits the depth of traditional perspective. Central to the composition and the dynamic it creates, the reflection is swiftly brushed in black whereas the model is more precisely painted and more carefully worked over.
Whereas the academic painters focused on rendering the costumes, as the very official artist Henner did in his portrait of Madame Jeantaud, or rather of her dress, Degas transformed the genre with this highly original, lively image.
A transitional space between realist painting which imitates the real world and synthetic painting which offers another reality, this painting triggered Degas' research into multiple viewpoints of the same object, an approach which seems to presage the Cubist portraits of Braque and Picasso.
（百度直译：这幅画熟悉的、舒适的现实主义风格是十九世纪七十年代肖像画的特征，但构图非常新颖。的确，模特在走出去前头朝后照了照镜子，看起来是四分之三的样子。因此，倒影似乎直视着观众，观众被从贝瑞-玛丽通过镜子向观众的一系列复杂目光所吸引。镜子象征着虚幻和虚幻，缩短了传统视角的深度。在构图和动态创建的中心，反射被快速地刷成黑色，而模型被更精确地绘制和更仔细地处理。
尽管学术画家专注于渲染服装，正如官方艺术家亨纳在珍托夫人的肖像画，或更确切地说，她的衣服，德加改变了风格与这个高度原创，生动的形象。
这幅画是模仿现实世界的现实主义绘画与提供另一种现实的合成绘画之间的过渡空间，这幅画激发了德加对同一物体的多个视点的研究，这种方法似乎预示着布拉克和毕加索的立体主义肖像。）
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