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(单词翻译:双击或拖选)
ARI SHAPIRO, HOST:
The famous Renaissance1 painting "Birth Of Venus" has truly proven itself to be timeless. The image of the nude2 goddess on a clamshell has been appropriated and satirized4 countless5 times since the original was painted 500 years ago. The artist was Sandro Botticelli. Now a major traveling exhibition tells the artist's story. It's a collaboration6 between the Muscarelle Museum of Art in Williamsburg, Va., and the Museum of Fine Arts, Boston. Andrea Shea of member station WBUR reports the show features a number of works rarely seen outside Italy.
ANDREA SHEA, BYLINE7: Botticelli's best-known work, that image of Venus on a giant clamshell, has been riffed on by everyone from Andy Warhol to Lady Gaga to "The Simpsons."
(SOUNDBITE OF TV SHOW, "THE SIMPSONS")
HARRY8 SHEARER9: (As Lenny Leonard) Homer, what's the matter?
HANK AZARIA: (As Carl Carlson) Ain't you'd ever seen a naked chick riding a clam3 before?
DAVID MIRKIN: You steal from the masters. I'm not going to pretend that we did anything less than that.
SHEA: David Mirkin produced that episode of "The Simpsons." "The Last Temptation Of Homer" has the character fantasizing about his ideal woman, and his imagination goes to Botticelli's "Venus."
MIRKIN: Her hair's blowing in the wind. It's exactly the way you would set up a film shot of a gorgeous woman.
SHEA: Mirkin pokes10 fun at the iconic image but says he truly loves it.
MIRKIN: I think it's incredibly effective in terms of what it's actually trying to do. Its sensuality is amazing. I don't know where he came up with the idea of her riding on a clam. I mean, that's the funniest part (laughter).
SHEA: Few people know much about Boticelli, say the curators of the new exhibition. They're trying to change that with help from another "Venus" that's a focal point of the show.
UNIDENTIFIED MAN: OK.
SHEA: Two handlers in white gloves carefully hang the life-size painting.
FREDERICK ILCHMAN: Bellissima, bravo, looks great.
SHEA: That's Museum of Fine Arts curator Frederick Ilchman.
ILCHMAN: She sums up so much about Boticelli's attitude, his yearning12 to express ideals of beauty in human form.
SHEA: The exhibition is called "Botticelli And The Search For The Divine." The artist painted this solitary13 Venus in the 1480s after the more famous "Birth Of Venus." She's similar in pose, but her torso's strong contours and pale skin are covered with a sheer top. Her hair is red and tightly braided, not blown by the breath of angels, making her more Earthly than godlike.
ILCHMAN: It's not just he's doing a kind of new subject matter, the life-size human nude, but that he's painting it with a new level of subtlety14.
SHEA: Ilchman says this "Venus" helps us understand Botticelli's quest for divine beauty. He walks to another of the two dozen paintings in the exhibition, one that shows the influence of the Renaissance and its search for knowledge, a portrait of the Virgin15 Mary and Christ child reading a book.
ILCHMAN: In the second half of the 15th century in Florence, there was a new appreciation16 of ancient art. That is, Greek and Roman statues. And what I think is so remarkable17 is just how consistent his ideal of female beauty is.
SHEA: Botticelli's pursuit of realistic-looking divine beauty came to a halt after France invaded Florence. A Dominican friar named Savonarola took over the city. Muscarelle Museum of Art chief curator John Spike18 conceived of this exhibition and says Savonarola's followers19 collected and burned books and paintings deemed indecent in the 1497 Bonfires of the Vanities.
JOHN SPIKE: We know that Boticelli was considered the best painter of beautiful nude women in the city of Florence. So everyone supposes that his works were burned in this way.
SHEA: Somehow, the "Venuses" survived, but the deeply pious20 Botticelli believed Savonarola's teachings and the artist was traumatized when the fanatic21 himself was burned on a pyre. Boticelli became reclusive, inward, more devout22.
SPIKE: His last works become neo-medieval, flat, no details, no attempt to represent the human figure under the drapery.
SHEA: The mood becomes somber23. The warmer colors disappear. And, says the MFA's Frederick Ilchman, the eyes of the figures don't make contact with the viewer.
ILCHMAN: The sort of come hither or the welcome you see with the "Venus," these later paintings by Botticelli seem to be more hermetically sealed. They're not expressive24 in the same way but full of powerful emotion.
SHEA: When the exhibition debuted25 in Virginia, John Spike says two people fainted.
SPIKE: Great works of art yearn11 to be understood. There's a wonderful word for yearning in Italian - it's bramare - yearn to be understood, and we the spectators yearn to understand.
SHEA: And if visitors to the Museum of Fine Arts, Boston yearn to understand more, they can buy one of the exhibition's thick catalogues in the gift shop or maybe a pair of "Venus" socks. For NPR News, I'm Andrea Shea in Boston.
(SOUNDBITE OF FOSTER THE PEOPLE SONG, "DON'T STOP")
1 renaissance | |
n.复活,复兴,文艺复兴 | |
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2 nude | |
adj.裸体的;n.裸体者,裸体艺术品 | |
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3 clam | |
n.蛤,蛤肉 | |
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4 satirized | |
v.讽刺,讥讽( satirize的过去式和过去分词 ) | |
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5 countless | |
adj.无数的,多得不计其数的 | |
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6 collaboration | |
n.合作,协作;勾结 | |
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7 byline | |
n.署名;v.署名 | |
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8 harry | |
vt.掠夺,蹂躏,使苦恼 | |
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9 shearer | |
n.剪羊毛的人;剪切机 | |
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10 pokes | |
v.伸出( poke的第三人称单数 );戳出;拨弄;与(某人)性交 | |
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11 yearn | |
v.想念;怀念;渴望 | |
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12 yearning | |
a.渴望的;向往的;怀念的 | |
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13 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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14 subtlety | |
n.微妙,敏锐,精巧;微妙之处,细微的区别 | |
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15 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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16 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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17 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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18 spike | |
n.长钉,钉鞋;v.以大钉钉牢,使...失效 | |
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19 followers | |
追随者( follower的名词复数 ); 用户; 契据的附面; 从动件 | |
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20 pious | |
adj.虔诚的;道貌岸然的 | |
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21 fanatic | |
n.狂热者,入迷者;adj.狂热入迷的 | |
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22 devout | |
adj.虔诚的,虔敬的,衷心的 (n.devoutness) | |
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23 somber | |
adj.昏暗的,阴天的,阴森的,忧郁的 | |
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24 expressive | |
adj.表现的,表达…的,富于表情的 | |
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25 debuted | |
初次表演,初次登台(debut的过去式与过去分词形式) | |
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