評論
打印
Professor: OK. As art historians, one of our fundamental tasks is to assign authorship to works of art, right?
教授：作為藝術史家，我們最基本的任務之一就是確定藝術作品的作者，對吧？
We’re presented with a work of art, and we have to figure out who made it.
我們面前呈現了一個藝術作品，而我們要弄清楚這是出自誰之手。
But this task becomes particularly difficult when we’re dealing with works produced in Italy during the Renaissance, the 16th, 17th centuries.
但是當我們處理文藝復興時期也就是16世紀、17世紀出自意大利的作品時，這個任務就變得特別困難了。
Now, why is this the case? Anyone? Emily.
為什么會這樣呢？有人知道嗎？Emily你來說。
Student: Um...is it ‘cause artists didn’t sign their work?
學生：是因為那時候藝術家不在他們的作品中署名嗎？
I mean, didn’t the whole concept of the artist as an individual develop later? In like the 19th century?
我的意思是，個體藝術家這整個概念不是后來才發展出來的嗎？好像是19世紀的時候？
Professor: Well, you are sort of on the right track.
教授：你的方向是對的。
The concept of the individual artist, especially the concept of the artist as an artistic genius struggling alone with a vision as opposed to...say...a mere artisan...well, the idea of the artist as a lone genius didn’t develop until later.
個體藝術家這個概念，尤其是有著想象力的獨自掙扎的藝術天才這個藝術家概念，而不僅僅是個工匠，藝術家作為一個單獨的天才這個想法是直到后來才發展出來的。
But artists, individual artists, did sign their work during the Renaissance.
但是藝術家，個體藝術家在文藝復興時期是會在作品上署名的。
In fact, you could say that’s part of the problem, paintings were signed by the artist and that used to be understood to be a mark of Renaissance’s individualism.
事實上你也能說這正是問題的一部分，畫作上會有藝術家的簽名，而這曾被理解成文藝復興的個人主義標志。
If a piece had Raphael’s signature on it, we assume it was done by the great artist himself, Raphael, in the singular.
如果一件藝術品上有Raphael的簽名，我們會認為它是由這位偉大的藝術家Raphael本人獨自完成的。
