在事实与虚构之间

红树林 Pub Date : 2022-02-17 DOI:10.1093/oso/9780197572443.003.0008

Lydia D. Goehr

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摘要

第8章探讨了艺术家将一幅画的第一个主题变成另一个主题的或多或少的严重条件。为什么穆尔格让马塞尔画《红海通道》作为一系列政治和社会解放通道的第一幅画呢?马塞尔的模特从何而来?一个更熟悉的答案是利用艺术史的事实;另一个人则不那么熟悉，他转向文学小说世界，在穆尔格的故事背后寻找最巴黎人讲述的红海轶事。

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Between Fact and Fiction

Chapter 8 explores the more and less serious conditions for an artist to turn the first subject of a painting into another subject. Why did Murger make Marcel paint a Red Sea Passage as the first image in a repetitive string of so many more political and social passages of liberation? Whence came the models for Marcel? One answer, the more familiar, uses facts of art-history; the other, less familiar, turns to a literary world of fiction, to find behind Murger’s story the most Parisian tellings of the Red Sea anecdote.

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