文艺复兴时期女画家去哪儿了?
Florence is one of the main stops on any art lover's European itinerary.
佛罗伦萨是艺术爱好者欧洲之旅的主要站点之一。
At the Uffizi Galleries, visitors can have their fill of works by Renaissance masters Leonardo da Vinci, Michelangelo and Raphael.
在乌菲齐画廊,游客可以尽情欣赏文艺复兴时期大师列奥纳多·达·芬奇、米开朗基罗和拉斐尔的作品。
Of course, none of these artists are women.
然而,这些艺术家中没有一个是女性。
In 2009, a new nonprofit foundation in Florence started to investigate why.
2009年,佛罗伦萨的一个新的非盈利基金会开始调查其中的原因。
"I started going into museum storages and attics and checking what was actually there, what works by women," says Linda Falcone, the director of Advancing Women Artists.
“我开始走进博物馆的储藏室和阁楼,检查那里到底有什么,女性艺术家的作品是什么,”促进女性艺术家协会主任琳达·法尔康说。
"It was something that had never been done before because no one had ever before asked the question, 'Where are the women?' "
“这是以前从未有人做过的事情,因为以前从来没有人问过这样的问题,'女性在哪里?’”
In the years since, AWA has shed light on a forgotten part of the art world, identifying some 2,000 works by women artists that had been gathering dust in Italy's public museums and in damp churches.
在那之后的几年里,阿瓦让人们看到了艺术界一个被遗忘的部分,她发现了大约2000件女性艺术家的作品,这些作品一直在意大利的公共博物馆和潮湿的教堂里尘封。
It has also financed the restoration of 70 works spanning the 16th to the 20th centuries.
它还资助修复了从16世纪到20世纪的70件作品。
The organization was founded by Jane Fortune, an American philanthropist who died in 2018.
该组织由2018年去世的美国慈善家简·福琼创立。
Fortune was an intrepid art detective whom Florentines nicknamed "Indiana Jane" in homage to her native state and her Renaissance treasure hunting skills.
福琼是一位勇敢的艺术侦探,佛罗伦萨人给她起了个绰号“印第安那·简”,以此向她的家乡和她在文艺复兴时期的寻宝技巧表示敬意。
For centuries in Italy — the cradle of Renaissance masters — women with artistic talent were not allowed to enter academies.
在意大利这个文艺复兴时期大师们的摇篮里,几个世纪以来,有艺术天赋的女性是不允许进入学院的。
And the names of the few female artists from centuries past have mostly faded into oblivion.
几个世纪以来为数不多的女性艺术家的名字大多已被遗忘。
During the Renaissance, Falcone says, "Women didn't have citizenship. They couldn't produce art as a profession. They couldn't issue invoices. They couldn't study anatomy."
法尔科恩说,在文艺复兴时期,“女性没有公民身份。她们不能把艺术作为一种职业。她们不能获得资金。她们也学不了解剖学。”
So, she says, "No in-the-nude figures, for example, because it just wasn't considered appropriate. The inability to study in the same forum as male artists is very significant."
所以,她说,“例如,她们没有裸体的模特,因为这被认为是不合适的。不能和男性艺术家在同一个论坛里学习是非常明显的。”
And yet the artists persisted.
不过,这些女艺术家们仍在坚持。
A few Italian women were able to study painting in their fathers' studios — most notably Artemisia Gentileschi, daughter of the 17th century painter Orazio Gentileschi.
一些意大利女性能够在父亲的画室学习绘画,其中最著名的是17世纪画家奥拉齐奥·真蒂列斯基的女儿艾特伊西亚·真蒂列斯基。
AWA is responsible for restoring David and Bathsheba, one of her paintings that was found after being hidden in a Florentine palazzo's attic for 3 1/2 centuries.
阿瓦负责修复《大卫和芭丝谢芭》,这是她的一幅画作,在佛罗伦萨一座宫殿的阁楼里被藏了三个半世纪后被发现。
The group also rediscovered a 21-ft.-long canvas depicting 13 life-size males — the only known Last Supper painted by a woman.
该小组还发现了一条21英尺长的描绘了13名真人大小的男性的画作,这是目前已知的唯一一幅由女性创作的“最后的晚餐”。
It is by the 16th century Dominican nun Plautilla Nelli — whose workshop was inside a convent in Florence.
这是16世纪多米尼加修女普罗缇娜·内莉的作品,她的工作室位于佛罗伦萨的一个修道院里。
Florence has a long Last Supper painting tradition.
佛罗伦萨有着悠久的“最后的晚餐”绘画传统。
But, says Falcone, most of the works are static.
但是,法尔科恩说,大多数作品都是静态的。
"Whereas," she says, "Nelli actually chooses sort of the key moment in which Christ announces his betrayal. And you have all of the apostles feeling the emotion of that very serious news. And so she is able to do a study of their responses, of their psychological responses."
“然而,”她说,“内莉实际上选择了基督宣布背叛的关键时刻。让所有的使徒都感受到了这个严肃的消息。所以她能够研究他们的反应,他们的心理反应。”
And, unlike most Last Suppers by male artists, Nelli puts food on the table, says Falcone.
法尔科恩说,与大多数男性艺术家的《最后的晚餐》不同,内莉把食物摆上了桌子。
"She has lettuce, she has salt cellars, a lot of wine, bread for every apostle and knives and forks and beans and lamb — she did a Last Supper were people were meant to eat, first of all," she says.
她说:“她有生菜,有盐窖,还有很多酒,每个使徒都要吃面包,刀叉、豆子和羊肉。她做的最后一顿晚餐首先是给人们吃的。”
问题
文中提到了几位文艺复兴时期的女画家?
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