評論
打印
"What wonderful cushions you have," said Mr. Van Busche Taylor.
“你這些靠墊真是太了不起了，”凡·布施·泰勒先生說。
"Do you like them?" she said, smiling. "Bakst, you know."
“你喜歡嗎？”她笑著說，“巴克斯特（雷昂·尼古拉耶維奇·巴克斯特（1866—1924），俄羅斯畫家和舞臺設計家）設計的，你知道。”
And yet on the walls were coloured reproductions of several of Strickland's best pictures, due to the enterprise of a publisher in Berlin.
但是墻上還掛著幾張思特里克蘭德的最好畫作的彩色復制品；這該歸功于柏林一家頗具野心的印刷商。
"You're looking at my pictures," she said, following my eyes. "Of course, the originals are out of my reach, but it's a comfort to have these. The publisher sent them to me himself. They're a great consolation to me."
“你在看我的畫呢，”看到我的目光所向，她說，“當然了，他的原畫我無法弄到手，但是有了這些也足夠了。這是出版商主動送給我的。對我來說真是莫大的安慰。”
"They must be very pleasant to live with," said Mr. Van Busche Taylor.
“每天能欣賞這些畫，實在是很大的樂趣，”凡·布施·泰勒先生說。
"Yes; they're so essentially decorative."
“一點兒不錯。這些畫是極有裝飾意義的。”
"That is one of my profoundest convictions," said Mr. Van Busche Taylor. "Great art is always decorative."
“這也是我的一個最基本的看法，”凡·布施·泰勒先生說，“偉大的藝術從來就是最富于裝飾價值的。”
Their eyes rested on a nude woman suckling a baby, while a girl was kneeling by their side holding out a flower to the indifferent child. Looking over them was a wrinkled, scraggy hag. It was Strickland's version of the Holy Family. I suspected that for the figures had sat his household above Taravao, and the woman and the baby were Ata and his first son. I asked myself if Mrs. Strickland had any inkling of the facts.
他們的目光落在一個給孩子喂奶的裸體女人身上，女人身旁還有一個年輕女孩子跪著給小孩遞去一朵花，小孩卻根本不去注意。一個滿臉皺紋、皮包骨的老太婆在旁邊看著她們。這是思特里克蘭德畫的神圣家庭。我猜想畫中人物都是他在塔拉窩村附近那所房子里的寄居者，而那個喂奶的女人和她懷里的嬰兒就是愛塔和他們的第一個孩子。我很想知道思特里克蘭德太太對這些事是不是也略知一二。
