評論
打印
We try to look at the objects and paintings in the round
我們嘗試全面地了解這些畫作和工藝品
By that I mean that we wanted to know what they told us
換句話說就是我們不僅想通過這些作品
about the society for which they were made
去了解當時的社會環(huán)境
but also how our own expanding knowledge historical knowledge
我們還希望過去三十年對歷史
about family marriage women's role in the household children
家庭，婚姻，女性家庭地位及子女
all of that based on sort of the last 30 years of varying intensive research
等知識的深入研究
how that research helps us better understand
能夠幫助我們更好地了解
the imagery and forms of these objects
這些藝術作品的意象和形式
So our goal was to move back and forth freely between the objects
因此我們的目標就是能夠游刃有余地
and the historical records to see how they might illuminate one another
將這些藝術作品和歷史記錄聯(lián)系起來，看兩者如何互相啟發(fā)
but at the same time never losing our focus on things as marvelous objects
但是與此同時我們不能忽略了這些作品那令人心醉神迷的美
of incredible aethetic impact which brings us to our first two slides
如同接下來的兩張幻燈片中所展示的
From my point of view as a paintings curator
以我館長的角度看來
the exhibition was really inspired by a group of paintings in
這個展覽實際上是受大都會博物館中珍藏的畫作啟發(fā)
the Metropolitan Museum's own collection
進而成形的
Above all there are two debut artsy on the screen
這里是兩幅初次展出的畫作
On the left the Birth Tray or Desco da parto
左邊這個是一個祝生盤
that was made to commemorate the birth of Lorenzo
是為了紀念著名的意大利政治家洛倫佐出生而做
the magnificent Lorenzo de' Medici in Florence in 1449
洛倫佐·德·美第奇于1449年出生于佛羅倫薩
And on the right Lorenzo Lotto's magnificent Venus and Cupid
右邊是洛倫佐·洛托的名畫《維納斯和丘比特》
painted in northern Italy either in Bergamo or in Venice
于十六世紀二十年代末
in the late 1520s
繪于意大利北部的貝加莫或威尼斯
and almost certainly in celebration of a specific marriage
并且?guī)缀蹩梢源_定這是為了慶祝某個婚禮而畫
The Met's own collections form the core of the exhibition
大都會博物館本身的收藏品是這次展覽的核心部分
with 64 objects from 9 curatorial departments
共有64件展品，分布在9個展覽部門
including European paintings as the Lehman medieval
包括以中世紀雷曼兄弟為主的歐洲繪畫部門
but also the Costume Institute and Musical Instruments
以及時裝學院部門和樂器部門
