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在19世纪的法国,弥莱的品格是令人诧异的。他仿佛属于另一个时代,另一个种族,另一种思想方式的人。在法国艺术界,他是孤独的,几乎是个陌生人。无论是他的赞美者或诽谤者,都不理解他。前者把他当作新民主的真正和勇敢的发言人而敬仰他。后者则把他看成社会主义的吹鼓手,他用劳动大众苦难生活骇人听闻的场面反对资产阶级的压迫。评论家在弥莱的全部作品中看出对政治事件的影射。《播种者》的姿态好比在威胁,向
In the 19th century in France, Maitreya’s character was amazing. He seems to belong to another age, another race, another way of thinking people. He is lonely and almost a stranger in the French art world. Neither his complimentor nor the detractor understands him. The former honored him as a true and courageous spokesman for the new democracy. The latter saw him as a socialist drummer who opposed the bourgeois oppression with horrifying scenes from the suffering of the working masses. Critics have seen the reflection of political events in all of Mile’s works. The “sower” gesture is like threatening, toward