摘要
1862年,普罗旺斯埃克斯市一个灯光昏暗的画室中,保罗塞尚正仔细为一幅自画像勾勒最后一笔。与此同时,整个欧洲却在为另一种制图方式的出现而欣喜若狂。它彻底颠覆了肖像画的特权属性,重新定义了后者的商业价值。较之亲眼所见,人们更愿意相信照相机捕捉到的影像。正如霍桑笔下的主人公、达盖尔板摄影师霍尔格拉夫这样说道：“照片描绘下最为纯粹的外表，用一种画匠永远不敢贸然尝试的真实性，展现了被拍对象的潜隐品质。”
In 1862, inside a poorly-lit studio, Paul C6- zanne put the finishing touches on his latest can- vas, a self-portrait. Outside, all across Europe, a different method for image-creation was taking the continent by storm. The appearance and steady advancement of photography completely overturned painting＇s representational domi- nance, and redefined the economic value of a portrait. It turned out that people believed in the image captured by a camera more than the real thing. Holgrave, the young daguerreotyp- ist of Hawthorne＇s The House of the Seven Gables （1851） remarked, ＂While we give it credit only for depicting the merest surface, it actually brings out the secret character with a truth that no painter would ever venture upon, even could be detect it.＂
出处
《艺术界》
2012年第3期192-193,共2页
