艺术品展示 / 油画
《静物与拉瓦尔侧面轮廓》（Nature morte au profil de Laval）

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《静物与拉瓦尔侧面轮廓》
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画作名称：

Still Life with Profile of Laval
中文名称：
 静物与拉瓦尔侧面轮廓
画 家：
 保罗·高更（Paul Gauguin）
作品年份：
 1886 年
原作材质：
 布面油画
画作尺寸：
 46 x 38.1 cm
馆藏链接：
 印第安纳波利斯艺术博物馆（Indianapolis Museum of Art at Newfields）
备注信息：
  

　In this enigmatic image, Gauguin’s fellow artist Charles Laval peers at an arrangement of objects on a rumpled cloth. The tall vessel behind the fruit is one of Gauguin’s highly original experiments with ceramics, which he began making in 1886. Its current location is unknown.
　Laval’s profile reflects Gauguin’s admiration for the off-center, cropped compositions of Edgar Degas, while the parallel brush strokes and outlining of the fruit suggest the influence of Paul Cézanne.
　 This canvas was painted in Paris in late 1886, after Gauguin’s return from his first visit to the Breton village of Pont-Aven, where he befriended Laval.

 

百度翻译：http://fanyi.baidu.com

　“Gauguin remained unsure how to pursue in painting the direction he explored in his ceramics. His attempt to absorb and transcend the available alternatives provides the witty subtext of a remarkably strange picture that he executed after firing the ceramics. The mise-en-scène pays explicit homage to Cézanne: a table placed in the corner of a room with walls papered in a pattern reminiscent of the Provençal artist's still lifes supports a rumpled cloth and a number of fruits modeled with firm contours and directional brushwork. The respectful mood is disrupted by two quite different intrusions: the strange object on the table that seems to face into the corner, and the head of a bespectacled young man, abruptly entering the pictorial space at the right. The position of the model—Charles Laval, a young painter whom Gauguin had befriended in Brittany—is indebted to Degas, who has used a similar compositional device in a pastel shown in the sixth Impressionist exhibition. Laval's attention appears to be engaged not by the carefully positioned fruit, but by the oddly shaped ceramic object looming above it—one of the “monstrosities” of which Gauguin was particularly fond. Laval wears a quizzical expression, as if he is trying to make sense of what is before him.
　 The failure of pictorial elements to combine into a coherent whole in Still Life with Profile of Charles Laval is arguably the intention. Gauguin brought together two genres—still life and modern life—and their most prominent contemporary practitioners—Cézanne and Degas—but deliberately declined to resolve them. The ceramic, parachuted into this contested field, introduces a third personality—Gauguin—incarnated as an “authentic,” independent entity. Ironic and pointed, this was the first of a number of canvases thematizing the challenges of creativity. Through the figure of Laval, who acts as the viewer's surrogate, Gauguin here seems to have invited us to speculate on his next move.” 

 

百度翻译：http://fanyi.baidu.com


 

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@印第安纳波利斯艺术博物馆：“This eccentric, off-centre portrait is Gauguin's only painting of Laval. (But he drew him in his Brittany sketchbook of 1886; and there is a portrait drawing in the Tate Gallery, London, probably done in Martinique.) Internal evidence suggests that it must have been painted in Paris in the last weeks of 1886, rather than in Pont-Aven. For, as well as the still-life of fruit, Gauguin has included one of the ceramics that he only began making seriously after his return to Paris in October 1886. Gauguin put great faith in his ceramics, not only as objects that he hoped would win critical appreciation, but also as potential sources of much-needed income. Indeed, on his return from Martinique, Gauguin wrote to his wife Mette asking if she had taken this particular pot back to Copenhagen, adding a thumb-nail sketch of it and stressing that is [sic] was worth 100 francs (letter of 6 December 1887). So far, it has failed to turn up and may well be destroyed.

The fact that Gauguin has included it in this portrait, and his obvious concern for it in his letter to his wife, imply that he regarded it highly. And Laval is surely admiring it, caught in the act of paying homage to Gauguin the artist-creator of the still-life painting, maker of the pot as well as portraitist. In no other painting that includes one of his own pots does Gauguin involve the sitter do directly with the object.”

百度翻译：http://fanyi.baidu.com