新标准大学英语_视听说教程3原文及翻译(17)

that painting she is the viewer and we are the subject in a way. And she has this look that she knows somehting that we don‘t know.

A:And then when I coverd up that side and looked at the other side, she seemed happier, um, more satisfied. And togher, it created sort of the mystery about her that, um, made interpreting her face very enigmatic.

S:There‘s speculation that the Mona Lisa is a self-portrait of Leonardo and I, I believe that it is, there, there, the features do line up between the Mona Lisa and sketches of Leonardo.

Scott McMahon and Anne Pfaff are both portrait artists. They believe that portraits can tell a story and make people think, just as the Mona Lisa has done for so many years.

A:When I was young, um, I was always interested in, um, reading books about people and, and the dynamics, different kinds of relationships they had and so when I became a painter it was natural for me to be interested in painting poeple and looking for similar kinds of stories to tell about them that you might read in a book.

S:Uh, most of my work consists of photographic self-portraiture. Um, I‘m interested in using myself as th subject, um, not only as the creator of the image but as the, the character, or the performer of, of the images. So in my portraits I‘m trying to capture, um, a deeper essence of a person, um, more or less. This work here is done with a pinhole camera, which requires a very long exposure so, with a portrait you can get this feeling of time passed. It‘s not a, it‘s not an instant, per se, it could be five minutes of exposure.

A:So this is another project I‘m working on. I‘m almost finished with it but I still need to work on the reflections in the wather, um, and the face of the boy before it‘s finished.

S:I often work with multiples and, you know, using a mirror or the same image twice and what I wanted to do was link the two portraits together with the string. It‘s kind of the string of thought or this idea of remembering or the resilience of memory.

A:I don‘t just paint from photographs. I try to make a work of art. Um, I try to make a painting that goes beyond a mere photographic image. I try to capture something about the soul of the, or the essence of this person.

S:This piece here is, uh, it‘s called The Measure of Decay and behind the piece there are portraits, again, of me I have this clay covering on that has cracked and so it‘s, it‘s kind of like the process of decay. So as each portrait goes around you can, you can see the image in a different focus. I love painting portraits.

A:I love painting but portraits are very special because they‘re about people.

S:I‘m fascinated by portraiture in general, and the human body and how the image lives over time. I like to capture what is unique and special about an individual in paint.

蒙娜丽莎，作为世界上做最著名的画，在当时的时代是完完全全颠覆性的。列奥纳多·达·芬奇在创作这幅画的时候突破了一切的规则限制，甚至是他自己的。在达芬奇创作的这幅画中，尽管他其他广大艺术家都认在画像中妇女只能以眼睛微向下看的姿态出现，可是他仍然将蒙娜丽莎画为直视着看画者。她的身体则是另外一个突破。当她的脸是对着正前方的时候，她的身体略微转过一个角度，这个姿势将一种动感和张力结合到了一起。另外一个突破传统的就是蒙娜丽莎没有佩戴任何的珠宝或者是装饰品。最后一点，肖像画的背景通常指向一个真实的地点，而列奥纳多的肖像画的背景看起来都是梦幻一般的。

安普法夫：我喜欢做的一件事情是，恩，思考她的脸还有为什么她是这样的姿态，她想通过她的脸传达什么，我曾认为她的脸告诉我们不止一个故事。比如说，如果我遮起她的脸的一边儿，她看起来会有些悲伤或者说是沉默寡言的，几乎是遮遮掩掩的。

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