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We are looking at Otto Dix's painting. It's Portrait of Sylvia von Harden and it's from 1926.
我们正在欣赏奥托·迪克斯的画作。这是〈记者席维亚·冯·哈德肖像〉，它是1926年绘制的。
Who was Sylvia von Harden?
谁是席维亚·冯·哈德？
Sylvia von Harden was a fantastic, fabulous figure, who was not actually a journalist, even though the title says that she's a journalist. She was less of a journalist but actually a poet and a short story writer who worked in Germany.
席维亚·冯·哈德是一个古怪的、绝妙的人物，她其实不是一位记者，虽然那头衔显示她是位记者。她比较不像记者，反而其实是一个在德国工作的诗人及短篇故事作家。
And this shows her in the Romanisches Cafe in Berlin, which was a huge hangout for all of the cool avant-garde artists and writers and poets of the 1920s. So Sylvia von Harden is pictured here in this little corner where she would have hung out at a little cafe table.
这画出了她在柏林的罗马咖啡馆里，那儿是1920年代所有优秀的前卫派艺术家、作家、和诗人的大型聚会处。所以席维亚·冯·哈德在这个她会在一张小咖啡桌旁消磨时间的小角落这里被描绘出来。
She was an avant-garde of neue frau. And she was friendly with various artists and poets and writers of the era.
她是个前卫派的新女性(德文)。她和那时代许多艺术家、诗人和作家都很友好。
So neue frau is the new woman in Germany in the early 20th century. And we're in between the Great War and World War II here. And the new woman is that the woman in the public sphere who goes out and works.
所以neue frau是二十世纪早期德国的新女性之意。我们在第一次世界大战及第二次世界大战之间这里。新女性就是在公共领域外出及工作的女性。
She has close-cropped hair, I see, which makes her rather androgynous. Her hands are very large. Do these things have to do with representing the new woman in a work of art, perhaps?
她留着超短发，我看到了，这让她十分雌雄莫辨。她的双手非常大。或许，这些事情和在艺术作品中要表现出新女性有关？
It does. It has to do with the new woman in general, but it also has to do with Otto Dix's style of portraiture. One thing that Otto Dix was famed for was making his sitters quite ugly and quite unattractive.
那是有关的。它通常和新女性有关，但它同样也和奥托·迪克斯的肖像画风有关。奥托·迪克斯知名的其中一件事就是让主角变得很丑、很没吸引力。
Sylvia von Harden does look like this in real life but not to quite the extent that Dix shows her. So that, things like her hair—she did have a close-cropped haircut. In Germany this cut had a very funny specific name, called the Bubikopf, which was in style all throughout the 20s. She did have a sort of androgynous appearance.
席维亚·冯·哈德确实在现实生活中看起来像这样，但不太像迪克斯画她的那程度。所以，像是她头发的东西－－她确实有头超短发发型。在德国这种发型有个非常有趣的特定名称，叫小男孩头(德文)，这在整个二零年代都很流行。她确实有种可男可女的外表。
And this dress is actually based on a dress that she actually wore. And so it does have a lot of basis in reality. But things like her hands, he elongates and sort of creates these immense hands.
这套洋装其实是以她实际穿的洋装为基础。所以它有很多现实的根据。但像是她的手的东西，他拉长了，且有点创作出这些巨大的手掌。
And I think that has a lot to do with sort of deflection and kind of placement as it draws your attention to things like the area where her breasts should be, which because she's such an androgynous figure, she doesn't really have any.
我认为这和某种偏差和那种布置有很大的关系，因为它将你的注意力拉到像是她胸部应该在的位置这种事情，而因为她是这么一个雌雄莫辨的角色，她其实一点都没有(胸部)。
She's wearing this very kind of geometric-patterned dress that hides any kind of feminine figure that she might have. She's covered up. I mean, it even has a turtleneck so we don't even get to see her neck. And then you see the other hand kind of draped across her lap, covering it up. But there are other elements that you might be able to see that signal different things.
她穿着藏起她可能会有的任何女性形象的这么一套几何图样洋装。她被掩盖起来。我是说，这衣服甚至还有个高领子好让我们甚至看不到她的脖子。接着你看到另一支手有点盖过她的大腿、将其掩盖。但还有其他你也许能够看到、暗示不同意义的元素。
In the body?
在身体上吗？
If you look actually at this great detail—the sagging stocking—you can kind of see, and that's a really great moment of realism that Dix captures. You don't want to have your stockings be shown as sagging. It sort of implies a kind of messiness. She doesn't seem to have a very polished kind of air about her. But on the other hand, it kind of gives her this sort of subversive quality.
如果你确实看到这个重要的细节－－那松垂的长袜－－你可以稍微看到，那是迪克斯捕捉的现实主义中非常美好的片刻。你不会想要让你的长袜以松垂的状态被展示出来。那有点暗示一种脏乱感。她似乎没有一种关于她非常优雅的神态。但在另一方面，那有点给了她这种颠覆传统般的特质。
She's sitting there and she's looking out. She has a monocle even. I mean, she has these particular features, all these little accessories that pinpoint her as a particular kind of woman—the sagging stocking, the large hands, the monocle which highlights the kind of sight and gaze that a new woman might have.
她正坐在那儿，且她正向外看。她甚至有副单片眼镜。我是说，她有这些独有的特色，所有这些凸显她为一位特殊女性的小附属品－－松垮的长袜、大手、强调了新女性也许会有的那种视线及凝视的单片眼镜。
And then she has cigarettes. She's smoking in a public place. That's all kind of building a particular sort of identity for this character, and Dix was really talented at doing that in his painting.
接着她有香烟。她在公共场合抽烟。那整个就是好像为了这个角色建立起一种特殊身分，而迪克斯非常擅长在他的画作中那么做。
The patterned dress seems to really emphasize a sense of surface and flatness instead of her body. Her neck seems very cylindrical and almost mechanical rather than a human organic form as well.
那图样洋装似乎确实强调了一种表面和平坦感，而不是她的身体。她的脖子也看似非常地圆柱状且几乎像机械一样，而不是人类的器官型态。
I think one of the things that I like about this painting, too, is the way that Dix uses this kind of geometric sort of areas and shapes and throws it into contrast with, if you see behind her, she's sitting on this really ornately patterned chair. So those kind of curves are more feminine than her body is, which I think is a great kind of a comment to make.
我认为关于这幅画我也喜欢的其中一件事，是迪克斯利用这种几何类型的空间和形状，并将其进行对照，如果你看她身后，她正坐在这张图样非常过分装饰的椅子上。所以那种曲线比她的身体还要更女性化，我认为这是能做出的一种很棒的解释。
Then there's the circle of her monocle; there's the circle of the marble table; the circle of the glass, which has a very particular kind of cocktail in it that was popular at the time. So those things, and then things that are longer and flatter, like her body, which really should be the least flat, you know, if you're thinking about what bodies look like.
接着有她那单片眼镜的圆形；有那张大理石桌的圆形；杯子的圆形，杯中有当时非常受欢迎的特殊种类鸡尾酒。所以那些事情，然后那些更长、更平坦的东西，像是她的身体，确实应该是最不平坦的，你知道，如果你想想看身体看起来是怎样的话。
Are bodies in round and sort of curvaceous and sensual things or are they in kind of desexualized, and rogenized forms which Dix does here?
身体是圆的、有点曲线美、且喜爱感官享受的东西吗？或是它们是以迪克斯在这里创造出的那种除去性别特征、可男可女的形式呢？
And we should probably contextualize this in terms of the new objectivity, or neue Sachlichkeit.
我们应该也许要在新客观主义、也就是neue Sachlichkeit(德文)方面的背景下一并考虑这点。
Yes, Sachlichkeit. Yes!
是的，Sachlichkeit。是的!
Which was occurring at this time, a movement in between the wars, which went back to a bit more of a figural style, a bit more naturalism—relatively more naturalistic than what one might be familiar with in terms of Kirchner or German expressionism or Kandinsky, of course, other artists who were working in Germany at the time. Why going back to this style, which is a bit more naturalistic?
那是在此时发生的，在两次大战之间的运动，那回到有点更具像化的，有点更自然主义的－－相对来说更自然主义，比起人们可能在Kirchner(德国画家) 、或是德国表现主义、或是Kandinsky(俄国画家)方面更加熟悉的那种自然主义，当然，还有其他当时在德国工作的艺术家。为什么要回到这种风格，那是有点更自然主义的？
Well, I think that the realism is, there are many things that are important about it at this time, but this is 1926. There's this sort of general sense in Germany. This is going on in other countries in Europe as well, kind of a return to order, kind of looking back at tradition, a kind of sense that they wanted to create something new, but they wanted it to have a particular kind of meaning and a rootedness in something that was very German.
这个嘛，我认为现实主义是，有许多在此时关于自然主义来说很重要的事，但此时是1926年。在德国有这种一般的观念。这也在欧洲其他国家进行，有点是回归秩序，有点回顾传统，有点他们想要创造出某些全新东西的概念，但他们想要它有种特殊的意义，且在某个非常德国风格的事物中根深蒂固。
So Otto Dix is really looking back to traditions of portraiture in Germany. He looks back to Holbein who creates, you know, incredibly important portraits and sort of, you know, bringing out that kind of German quality.
所以奥托·迪克斯确实回顾了德国肖像画的传统。他回顾了，你知道，创造出极其重要的肖像画的霍尔拜因，还有点，你知道，带出了那种德国特质。
Holbein's hyper-naturalistic, isn't he?
霍尔拜因是超级自然主义的，不是吗？
Yes, he is hyper-naturalistic. What he does is he takes naturalism and realism and he sort of lifts it to another level, where it almost is caricature. So it kind of falls between that. And a lot of neue Sachlichkeit painters did that—a kind of photographic realism, almost, but also taken to an extreme.
是的，他是非常自然主义的。他做的事是他采用自然主义及现实主义，且他有点将其带到另一种水准，几乎是漫画手法的程度。所以它有点落在那之间。有许多新客观主义(德文)的画家那么做－－有点生动的现实主义，几乎，但同样也被带到极限。
That's interesting that it's characterized as a kind of call to order or a return to order, while we're representing someone who is apparently overturning some very longstanding gender hierarchies and ordered ways of thinking about men and women as very separate.
有趣的是它被描绘成一种要求秩序或是回归秩序，虽然我们正代表着某个人，某个很明显在推翻某些非常悠久的性别阶级制度、以及推翻认为男女是非常不同的固有模式的人。
The new woman, particularly as it's embodied here by Sylvia, seems to be confounding those categories rather than reveling in how neat and ordered they are.
新女性，特别是当它在这儿由席维亚体现时，似乎正使那些类型混淆，而不是着迷于它们多么整洁、有秩序。
Well, she's definitely about sort of overturning things. And you know, even her name is actually made up. It's a pseudonym. She changed her name when she started her writing career. She's not a huge, very popular writer, but she's one of many poets and writers who are working on different pieces that are published in small journals that, you know, very small kind of audiences have read.
这个嘛，她绝对有点是为了要推翻事物。你知道，甚至她的名字其实都是杜撰的。那是笔名。她在她开始写作职业时更改了名字。她不是个非常大牌、非常知名的作家，但她是诸多致力于在小型期刊上发表的不同作品的诗人及作家之一，你知道，就是那种非常小众的观众会读的期刊。
But she's definitely overturning different kinds of cultural stereotypes and gender stereotypes, and kind of in that space of subversion in the cafe culture of Germany at the time.
但她确实在推翻 不同种类的文化刻板印象及性别刻板印象，似乎就在当时德国咖啡文化中那种颠覆的空间。
What did Dix's sitters think about the fact that he liked to make people ugly? Did that bother them?
迪克斯画作的主角对于他喜欢让人们看起来丑陋的事实有什么想法？那有让他们不开心吗？
You know, sometimes it did. A lot of times it was almost like a privilege to be painted by Dix and portrayed in this particularly ugly kind of way. But one or two sitters did have a problem with it, depending on if he was commissioned by sitters because he was so well-known, and at this point, in '26, he's very well-known for his painting style. But earlier than that, some of his more wealthy business clients did not particularly like the way that they were painted.
你知道吗，有时候会让他们不开心。很多时候让迪克斯画肖像及被这种丑陋的独有方式描绘是一种荣幸。但一两个主角确实对此有意见，取决于他是否是让画中主角委派的，因为他是这么知名，而且此时，在1926年，他因他的画风而极其出名。但在那稍早，他的某些更有钱的企业顾客确实不特别喜爱他们被描绘的那种方式。
Sylvia von Harden, as far as I know, loved the way that this painting worked. She even sat with it. It's at the Pompidou Center now. In the '60s she even sat and had a photograph taken of herself in front of the portrait. And you can see even, at that point, that she still sort of looks a little bit like the figure in it.
席维亚·冯·哈德，就我所知，喜欢这幅画绘制的方式。她甚至与它同坐。它现在在法国庞毕度中心。在六零年代，她甚至坐下，并让人照了张她自己在肖像画前头的照片。你可以看到，即使在那时，她还是看起来有点像画中的主角。
I just think it's a great portrait.
我就是觉得这是幅很棒的肖像画。
Me too.
我也觉得是。
