神马作文网英语翻译Probably the artist merely “registered” whatever had hap
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英语翻译
Probably the artist merely “registered” whatever had happened to accumulate in his studio.Every motif is painstakingly rendered,down to the tiniest detail,with photographic fidelity.Their plasticity contrasts strangely with the schematically depicted,relatively childish faces and figures of the young people.Nothing in the collection seems extraordinary -were it not for the masterpiece by Edouard Manet that crops up almost unnoticed at the left edge and that gave Blake’s picture its title:The Balcony,1868.The artist has placed this superb work of art on the same level as the trivia of mass culture.For as its small dimensions indicate,the Manet is merely a copy or reproduction in a gilded frame.Although the relationships among the diverse objects remain enigmatic,Blake’s painting subliminally raises the issue of the status of the work of art in the age of its technical reproducibility (the subject of a groundbreaking essay by Walter Benjamin),and quite casually demonstrates the change that has taken place in our habits of perception since the French artist’s day,the consequences of distracted vision.
Probably the artist merely “registered” whatever had happened to accumulate in his studio.Every motif is painstakingly rendered,down to the tiniest detail,with photographic fidelity.Their plasticity contrasts strangely with the schematically depicted,relatively childish faces and figures of the young people.Nothing in the collection seems extraordinary -were it not for the masterpiece by Edouard Manet that crops up almost unnoticed at the left edge and that gave Blake’s picture its title:The Balcony,1868.The artist has placed this superb work of art on the same level as the trivia of mass culture.For as its small dimensions indicate,the Manet is merely a copy or reproduction in a gilded frame.Although the relationships among the diverse objects remain enigmatic,Blake’s painting subliminally raises the issue of the status of the work of art in the age of its technical reproducibility (the subject of a groundbreaking essay by Walter Benjamin),and quite casually demonstrates the change that has taken place in our habits of perception since the French artist’s day,the consequences of distracted vision.
或许这位艺术家只是把所有碰巧在他的录音室里积累起来的东西做了登记.每个主题都煞费苦心地演绎至极细小的细节,保证摄影般的保真度.那些可塑性与按部就班的描绘不同,分别是些孩子气的脸和年轻人的形象.这张专辑中没什么与众不同的,即使它不是为了爱德华.马奈的杰作,这些杰作几乎是不易觉察地突然出现在左侧,并且给布莱克的照片标题：露台 1868.这位艺术家把这部艺术杰作放在大众文化中曾通作品相当的层次.因为正如它自身较小的尺寸所表现出来的,马奈的作品只是装在镀金框架里的一个复制品.尽管形形色色的对象之间的关系仍显得神秘,布莱克的作品不经意地提出了在技术复制时代里艺术品的地位问题（这个问题在沃特本杰明的一部开创性的作品中被作为一个主题来讨论）,并且非常随意地展现出我们的观察习惯自从法国艺术家时代以来忆经上发生了的改变,注意力分散的结果.
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