A Young Woman Seated at a Virginal, Johannes Vermeer. ca.1670-1672

中文譯：

如您所見(jiàn)，在畫面左側(cè)的前景倚立著一把維奧爾琴（viola. 巴洛克時(shí)期樂(lè)器，又名柔音提琴，6-7弦），一把琴弓斜搭于琴弦之間。少女身前維金納琴的琴蓋內(nèi)側(cè)繪有風(fēng)景畫（virginials. 維京琴，harpsichord羽管鍵琴的一種，在16-17世紀(jì)的英格蘭備受歡迎，被泛指各種羽管鍵琴，其內(nèi)部多裝飾畫），而少女身后的背景也是一幅畫——Dirck van Baburen.迪克·范·巴布倫《The Procuress老鴇》(該作藏于波士頓美術(shù)博物館)或者是原作的復(fù)制品。

背景中的《老鴇》對(duì)于整幅畫面是否有影響意義尚無(wú)定論， 作者可能意圖在音樂(lè)和愛(ài)情之間營(yíng)造一種更為廣泛的聯(lián)系。一張掛毯蘊(yùn)染著畫面左上方的氛圍，而代爾夫特瓷磚裝飾著在少女裙袂之右下方的地面。

（代爾夫特藍(lán)陶：荷蘭經(jīng)典瓷磚——白底藍(lán)彩，相關(guān)專家憑借白藍(lán)雙色的光彩和色澤差別來(lái)鑒別出品時(shí)間等）

本作品風(fēng)格上可以追溯到17世紀(jì)70年代（1670年），有觀點(diǎn)認(rèn)為它和藏于英國(guó)倫敦國(guó)家美術(shù)館的維米爾的另一幅作品《站在維金納琴邊的少女》是互為藝術(shù)補(bǔ)遺的姊妹篇，具考它們的尺寸、創(chuàng)作日期以及相關(guān)創(chuàng)作題材都具有著一定相似性。然而在19世紀(jì)之前，它們出自誰(shuí)人有所爭(zhēng)議；而正如我們所知道的那樣，維米爾會(huì)在其他場(chǎng)景尋覓同一個(gè)主題的變奏版本。

19世紀(jì)，這兩幅畫被藝術(shù)評(píng)論家泰奧菲爾·托雷(Theophile Thore)收錄筆下。1866年，得益于他的文章，人們重新認(rèn)識(shí)了維米爾。

PS：維米爾是一個(gè)真正開(kāi)放式雙向思維大師，點(diǎn)擊這里繼續(xù)深入解密約翰內(nèi)斯·維米爾畫筆下“絕望的家庭主婦”

英文原版：

In the left foreground rests a viola da gamba with the bow placed in between the strings. The virginal has a landscape painted on the inside of the lid, and the painting in the background is The Procuress by Dirck van Baburen (now in the collection of Museum of Fine Arts in Boston) or a copy of it.

Whether or not the subject of The Procuress in the background is intended to have a bearing on the meaning of the whole work is not clear. It is probable that a more general association between music and love is intended. A tapestry frames the scene at the upper left, and the skirting in the lower right is decorated with Delft tiles.

This painting has been dated on stylistic grounds to about 1670. It has been suggested that it and A Young Woman Standing at a Virginal, the National Gallery's other painting by Vermeer, are pendants, because of the similar size, date and related subject matter. Their provenances before the 19th century differ, however, and Vermeer is known to have explored variations on a theme on other occasions. In the 19th century, the two paintings were in the collection of the art critic Théophile Thoré, whose articles prompted the rediscovery of Vermeer in 1866.

P.S. Vermeer was a true master of ambiguity. Read here about the secrets of Dutch desperate housewives painted by Johannes Vermeer!

P.P.S. Again, to welcome 2022 properly, we need to inform you about our artsy paper calendars for the new year. Check them out?here?:)

原文來(lái)自：DailyArt

原文翻譯：Yvonne Zhang，原文校對(duì)：Cassie Chi Zhang

重新翻譯及其他注釋：11Sasoy