Leonora Carrington was born into a wealthy landed English family living in a large mansion Crookhey Hall. She was a rebellious child and had an interest in art from an early age. In her late teens she studied art privately with French Cubist Amedee Ozenfant where she learnt the formal techniques of painting in a highly disciplined way.
列奥诺拉·卡灵顿（Leonora Carrington）出生于一个有钱英国士绅家庭，住在名为Crookhey Hall大豪宅中。她是一个叛逆的孩子，从小就对艺术感兴趣。在她十几岁的时候和法国立体主义画家阿米德·奥森芬特（Amedee Ozenfant）私下学习艺术，在纪律严明的教学方式下学习了绘画的正式技巧。
1947 Crookhey Hall
In 1936 she came across Herbert Read's book on Surrealism which included an illustration of Max Ernst's 1924 painted construction, 'Two Children Are Threatened by a Nightingale'. This had such a profound impact upon her that she wanted to create art in that style.
1936年，她阅读了赫伯特·里德（Herbert Read）关于超现实主义的书，其中包括马克斯·恩斯特（Max Ernst）1924年画的建筑插图，“两个孩子受到夜莺的威胁”。这对她产生了深远的影响，使她想以这种风格创作艺术。
1924 Two children are Threatened by a Nightingale
By Max Ernst
A year later she was invited to a dinner party at which Max Ernst was the main guest. They were immediately attracted to one another. A few weeks later she left Britain for Paris and moved in with Ernst. She there met most of the Surrealist circle and she began painting seriously.
一年后，她应邀参加了以马克斯·恩斯特（Max Ernst）为主要嘉宾的晚宴。他们立即被彼此吸引。几周后，她离开英国前往巴黎，并随恩斯特一起生活。她在那里遇到了超现实主义圈子的大多数人，并且开始认真绘画。
1965 Friday the 13th
One of her earliest surrealist pieces is her 'Self Portrait' in 1937, subtitled 'The Inn of the Dawn Horse'.
她最早的超现实主义作品之一是1937年的“自画像”，副标题为“黎明马匹的旅馆”。
1937 Self-Portrait
They moved from Paris to a villa in the village of St. Martin d'Ardeche in Southern France close to Marseilles. There they had a short period of intense creative work before they both began to get caught up in the consequences of the beginning of the Second World War. During that time in early 1939 she also created another key work, her portrait of Max Ernst.
他们从巴黎搬到了法国南部马赛附近的圣马丁德阿德奇村的别墅。在那儿，他们经历了短暂的紧张创作工作，然后开始受到第二次世界大战的影响。在1939年初的这段时间里，她还创作了另一部重要作品，即马克斯·恩斯特肖像。
1939 Max ernst
Ernst was first rounded up as a German alien, and passed though a number of disturbing encounters with the authorities, both French and German. Carrington, being abandoned, was under considerable stress and left France for the safety of Spain. Her behaviour there showed such a degree of disturbance that she was placed into a Mental Hospital in Santander and given some rather severe drug treatment. The painting, 'Down Below' which she made in 1941 reflects her experience. She also wrote about it in a surreal novel of the same title.
恩斯特（Ernst）最初是作为德国外侨被捕的，并经历了与法国和德国当局的多次不安会晤。被遗弃的卡林顿承受着巨大的压力，出于安全考虑她离开了法国去往西班牙。她在那儿的举止表现混乱，以至于她被安置在桑坦德的一家精神病院并接受了相当严厉的药物治疗。她在1941年创作的画作《在下面》反映了她的这段经历。她还在同名的超现实主义小说中写过它。
1941 Down Below
She escaped the hospital and fled to Lisbon in Portugal where she knew the Mexican Ambassador, Renato Leduc. He gave her sanctuary and quickly married her, thus giving her diplomatic immunity and making it possible for her to leave for the USA in 1941. While still in Lisbon she met up with Ernst who was then living with Peggy Guggenheim, however, though still friendly to him, Carrington saw the relationship as ended.
她逃离了医院，跑到葡萄牙的里斯本，在那里她认识了墨西哥大使Renato Leduc。他给了她庇护所，并迅速与她结婚，赋予了她外交豁免权使其有机会在1941年前往美国。在里斯本的时候，她遇到了恩斯特，后者当时与佩吉·古根海姆（Peggy Guggenheim）住在一起，尽管表面上对他仍然友好， 但卡林顿认为他俩关系已经终结。
1958 The 4706th Floor
She moved to New York with Leduc where he worked for a while at the Mexican Embassy. There she met up again with the exiled surrealists. In New York Ernst was still trying to reawaken the relationship with Carrington, but she did not want to re-open a romantic attachment with him. As we have seen Ernst was still infatuated with her and often referenced her in his paintings of that time. Carrington's painting 'Green Tea' was created in 1942 while in New York.
她与勒杜克一起移居纽约，勒杜克在墨西哥大使馆工作了一段时间。在那儿，她再次接触流亡中的超现实主义者。在纽约，恩斯特仍在尝试重新重建卡林顿的之间恋爱关系，但她不想对他重新产生浪漫的依恋。正如我们所看到的那样，恩斯特仍然对她很着迷，并且经常在当时的画中提到她。卡林顿的画作《绿茶》于1942年在纽约创作。
1942 Green Tea
In 1943 she moved to Mexico with her husband Leduc. Mexico's left leaning government of that time admitted many European refugees from the war, even granting them citizenship. In Mexico city Carrington found herself within a small community of artists and intellectual, including Remedios Varo and her husband Benjamin Peret, Kati Horna the photographer, as well as circles around the Mexican writer Octavio Paz, Diego Rivera and Frieda Kahlo. She began to devote her time to painting and writing.
1943年，她与丈夫莱杜克（Leduc）移居墨西哥。墨西哥当时的左倾政府接纳了许多战乱中的欧洲难民，甚至授予了他们国籍。在墨西哥城，卡灵顿属于一个由艺术家和知识分子组成的小型社区，其中包括雷梅迪奥斯·瓦罗（Remedios Varo）和她的丈夫本杰明·佩雷（Benjamin Peret），摄影师卡蒂·霍纳（Kati Horna），以及墨西哥作家奥克塔维奥·帕斯（Octavio Paz），迭戈·里维拉（Diego Rivera）和弗里达·卡罗（Frieda Kahlo）周围的圈子。她开始将时间投入绘画和写作。
1969 The bath of rabbi Loew
She immediately seems to have found her mature style as we see in the 'Distractions of Dagobert' of 1945. This shows her immersion in Celtic mythology. Dagobert II was a seventh century Merovingian King. While a young prince he was captured and sent to Ireland, where he was supposed to have married Mathilde a Celtic Princess. His life is interwoven with legend and myth. Carrington here creates one of her complex paintings presenting a number of tableau depicting what she saw as elements in the myth of Dagobert and his Celtic wife.
正如我们在1945年的《达格伯特的干扰》中所看到的那样，她似乎已经找到了成熟的风格。画作表明她沉浸在凯尔特神话中。达哥贝二世（Dagobert II）是七世纪的梅洛芬吉安国王。年轻的王子被捕后被送往爱尔兰，他应该在那里迎娶了凯尔特公主玛蒂尔德。他的生活与传奇和神话交织在一起。卡林顿在这里创作了她的一幅复杂的画作，呈现了许多画面，描绘了她在达哥贝特（Dagobert）和他的凯尔特妻子的神话中所看到的元素。
1945 Distractions of Dagobert
In addition to Celtic mythology Carrington was deeply interested in esotericism, alchemy, magic, and all things occult. She shared this with Remedios Varo whom she met and discussed art and ideas almost every day. Indeed, the unofficial 'headquarters' for the European Surrealist émigrés was the apartment of poet Benjamin Peret and Remedios Varo on Calle Gabino Barreda.
除了凯尔特神话外，卡灵顿还对神秘主义，炼金术，魔法和所有神秘事物深感兴趣。她与雷梅迪奥斯·瓦罗（Remedios Varo）分享了这一点，他们几乎每天见面并讨论艺术和想法。的确，欧洲超现实主义移民的非正式“总部”正是诗人本杰明·佩雷特和雷梅迪奥斯·瓦罗在加比诺·巴雷达街上的住所。
1960 I Wanted to Be a Bird
Leonora became attached to Hungarian photo-journalist Emerico Chiki Weisz, who, being Jewish, had also fled Europe. They married in 1946, and in 1947 created 'Chiki, Your Country' another of her paintings full of interwoven tableau. Carrington rarely commented on her work so one has little clues from her, herself, but this painting obviously interweaves aspects from the difficult lives of both Chiki and herself, with her wider philosophical and spiritual interests. Thus, for example we see some small tableau at the bottom right which may reflect alchemical imagery.
列奥诺拉（Leonora）成为匈牙利摄影记者埃美里科·奇基·韦斯（Emerico Chiki Weisz）的追随者，他是犹太人，也逃离了欧洲。他们于1946年结婚，她于1947年创作了另一幅充满交织的画面的作品《Chiki, 你的国家》。卡林顿很少对她的作品发表评论，因此很难对她本人有所了解，但是这幅画显然将Chiki和她自己的艰难生活的各个方面与她广泛的哲学和精神趣味交织在一起。例如，我们在右下角看到一些小的画面，可能是反映炼金术的图像。
1947 Chiki, Your Country
Carrington is such a major figure and her artwork is often dense and full of complex references.
可见卡灵顿是一个非常重要的（超现实主义）艺术家，她的作品通常显得密集且充满了复杂的引用。
