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2018年09月22日 09:57:18

Thank you for inviting the whole of our family to your costume party. We come as a colon ...谢谢你邀请我们全家到你的化妆舞会。我们以一个冒号出现… /201512/416466江门福康专科医院看男科好吗A few months ago, I stood at the corner of a busy roundabout called Place Lamartine, across from the Roman gates leading into Arles in southern France, on a spot that was pivotal in the life of Vincent van Gogh. Behind me was the Rhone River, where he painted sparkling reflections from the quay on one particularly memorable starry night. Before me was a run-down commercial strip leading toward vast fields of the sunflowers he painted time and again.几个月前,我站在人来人往的拉马丁广场的拐角,马路对面是进入法国南部阿尔勒的古罗马门。这个地方对文森特·梵高(Vincent van Gogh)的一生都至关重要。我身后是罗纳河,一个繁星满天的夜晚,梵高曾在这里的码头画下了河中闪烁的倒影。在我面前是一条破败的商业街,通向大片大片的向日葵花海,而它们曾一次次地出现在梵高的画作中。It was where Vincent van Gogh’s Yellow House once stood, the sun-drenched Proven home that was the subject of his 1888 oil painting, where he took a period of “enforced rest” as he put it, in a pale violet-walled “Bedroom” he depicted in oil paintings three times that year.这里曾经矗立着梵高的黄房子,那个洒满阳光的普罗旺斯住宅是他1888年的油画的主角。用梵高自己的话来说,他曾在里面度过了一段“集中休憩”的时光,“卧室”的墙壁是淡紫色的,那一年曾三次出现在他的油画中。The little house contained legends: It was where one of the world’s most famous artists pushed his painting technique to its peak with works such as “Café Terrace at Night,” “Sunflowers” and “The Sower.” And it was where his personal life turned a dramatic and tragic corner. Here, van Gogh had a tumultuous fight with his friend, Paul Gauguin, and sliced a blade through his own ear, before admitting himself to the local mental hospital.这栋小房子充满了传奇色:在这里,世界最负盛名的艺术家之一把自己的绘画技术推向了巅峰,创作了《夜晚露天咖啡座》、《向日葵》和《播种者》等作品。在这里,梵高的个人生活出现了戏剧性和悲剧性的转折。在这里,他与好友保罗·高更(Paul Gauguin)发生了激烈的争吵,用刀割掉了自己的耳朵,入住了当地的精神病医院。From March to August, I traveled to many of the landmarks of van Gogh’s artistic life, beginning in the Belgian mining town of Mons, where the 27-year-old Dutchman was fired from his job as a missionary working among local coal miners for “undermining the dignity of the priesthood” by opting to live in the same squalid conditions as the miners — and where he instead began to draw. From there, I traveled to his renowned painting locations, Montmartre in Paris and Arles and St. Rémy in Provence, and ultimately to the Parisian suburb of Auvers-sur-Oise, where his life was cut short in his 37th year.去年3月到8月,我造访了梵高艺术生涯中的许多重要地点,起点是比利时矿业城市蒙斯。27岁的荷兰人梵高曾在那里失去了在当地煤矿公司传教的工作,原因是他选择和矿工生活在同样肮脏的环境里,“破坏了传道士的尊严”,并开始在画画。此后,我来到了他一些知名画作的诞生地,巴黎的蒙马特、普罗旺斯的圣雷米和阿尔勒,最后是见梵高匆匆走完37年人生的瓦兹河畔欧韦。I was on the trail of the artist during Van Gogh Europe 2015, the year that commemorates the 125th anniversary of his death, observed by cultural events and exhibitions related to van Gogh throughout the Netherlands, Belgium and France. What struck me was that, considering how famous and beloved van Gogh is, there are a number of historical landmarks of his life that have not been preserved, or are neglected. A few spots, however — such as van Gogh’s room at the asylum in St.-Rémy-de-Provence and his hotel room in Auvers-sur-Oise, where he died — have been handsomely renovated to great effect for visitors interested in the artist’s life, and for the local communities, which benefit economically from this form of gentle cultural tourism. 我的梵高之旅正好赶上了2015欧洲梵高年。为了纪念梵高逝世125周年,荷兰、比利时和法国举办了大量文化活动和与梵高有关的展览。让我难以置信的是,虽然梵高享有如此的声望和爱戴,他生命中好几处重要地标竟然没有被保护起来,或者无人问津。不过,有几个位置——比如梵高在普罗旺斯的圣雷米的精神病院房间,以及他度过最后人生的瓦兹河畔欧韦的酒店房间,都被精心地修葺,迎接着对这位艺术家的人生感兴趣的游客和当地居民。当地人也从这种轻文化旅游中获得了丰厚的经济利益。Hoping to replicate these strong examples, officials involved in Van Gogh Europe 2015 said their aim was to promote the forgotten sites, to focus attention on the fact that many sites linked to van Gogh were still in need of preservation.为了复制这些强大的典范,与2015欧洲梵高年有关的官员称,他们打算大力宣传这些被遗忘的角落,让人们了解到许多与梵高有关的遗迹还需要保护。“There’s a huge amount of interest worldwide in van Gogh’s paintings, and there’s a great audience for his work in museums,” Frank van den Eijnden, chairman of the Van Gogh Europe Foundation, said in a phone interview. “But generally there is less money for restoration and preservation of van Gogh heritage, mainly the local heritage sites that you can find in France, Belgium and the Netherlands. We needed more attention for all the organizations involved, and especially from the governments that were linked to these locations. We really want van Gogh heritage to be a world heritage in the coming years.”“世界各地的人们对梵高的画作都有着强烈的兴趣,他在物馆的作品有庞大的拥趸,”梵高欧洲基金会主席弗兰克·范登艾金登(Frank van den Eijnden)在电话采访中说。“但总体来说,用于恢复和保护梵高遗产的资金却不多,主要包括在法国、比利时和荷兰的遗产。我们需要为相关机构赢得更多关注,尤其是来自政府机构的关注。我们真心希望梵高的遗产在未来几年成为世界性的遗产。”Mostly, in places where van Gogh lived, there are a number of plaques featuring van Gogh images or words from his letters, in sometimes inscrutable locations. In St.-Rémy-de-Provence, for example, there is a plaque that shows his “Green Wheat Field With Cypress” posted in front of the white stucco wall of a private home. 在梵高居住过的地方,往往会看到梵高的照片或用梵高信件中的文字制作的牌匾,有些会出现在不可思议的位置。例如,在普罗旺斯的圣雷米,一户私人住宅的白色灰泥墙前就有一块牌匾,上面印着他的《麦田里的丝柏树》。I wasn’t a van Gogh fan when I embarked on this journey. I moved to the Netherlands nine years ago to do research for a novel on Rembrandt, and my passion lies more in the Dutch old masters. My trouble with van Gogh’s work was that, to me, it had the familiarity of cereal boxes — or, as Andy Warhol might have it, soup cans — copied and reproduced to the point of unseeability. Even when I was standing among the originals, the freshness of his work evaded me. Also, I was weary of what seemed like a triteness in van Gogh’s biography, the tortured-genius-who-never-sold-a-painting-in-his-life.踏上这次旅程时,我并不是梵高的仰慕者。九年前,我为了给一本关于伦勃朗的小说做研究搬到了荷兰,我更偏爱荷兰的早期绘画大师。对我来说,梵高作品的问题在于,它熟悉得就像是麦片包装盒——安迪·沃霍尔可能会说像汤罐头——如此频繁地遭到模仿和复制,到了让人无感的程度。即使站在真迹面前,我也感受不到新鲜。此外,我也厌倦了梵高传记的陈词滥调,它们无一例外地把他描述成“一生中从未卖出一幅画的饱受折磨的天才”。I often write about van Gogh, because I’m an American art journalist based in Amsterdam, where tourists flock by the millions to the largest trove of his paintings anywhere in the world, the Van Gogh Museum, at the center of Amsterdam’s sprawling Museumplein (museum square).我经常写梵高的故事,因为我是驻阿姆斯特丹的美国艺术记者,而每年会有大量游客来到全世界最大的梵高作品收藏地——梵高物馆,它就位于阿姆斯特丹庞大的物馆广场的中央。But when I learned that van Gogh once sat down in front of one of Rembrandt’s most famous works, “The Jewish Bride,” in the Rijksmuseum (also on Museumplein, next to the Van Gogh Museum) and confided to a friend, “I should be happy to give 10 years of my life if I could go on sitting here in front of this picture for two weeks, with only a crust of dry b for food,” I began to think about van Gogh and his creative process. That painting, to which Rembrandt applied yellow paint in such thick impasto that it lifts right out into three-dimensionality, was the link for me into the world of van Gogh.然而当我了解到,梵高曾经坐在阿姆斯特丹国家物馆(也在物馆广场,梵高物馆旁边)里面伦勃朗最著名的画作《犹太新娘》前对一个朋友说,“如果我可以在这幅画前坐上两周,我宁愿少活10年,哪怕只吃干面包充饥都行,”我开始思考梵高和他的创作过程。伦勃朗利用厚重的黄色油塑造出立体形象的这幅画,让我走进了梵高的世界。So, that is what brought me, in the heat of July, to the busy intersection in Arles, to see if, in a place that he once inhabited, I could find traces of van Gogh’s soul. But there was no more Yellow House. It was demolished in the 1940s in World War II, I would find out later. In front of me was a white plaque affixed to a pole that stood on the sidewalk, with an image of van Gogh’s painting, all shades of golden hay, fresh butter and sunlight, under a stippled blue sky. There was that impasto yellow again, straight out of Rembrandt’s palette. But no van Gogh.因此,在7月的炎热天气里,我来到了阿尔勒这个繁忙的交叉路口,想看看在他曾经住过的地方,我是否能找到梵高灵魂的踪迹。但是黄房子已经不在,后来我才知道,它于上世纪40年代在“二战”中被摧毁。我面前是一块白色的牌匾,固定在人行道的柱子上,图片上是梵高的画作:各种色调的金黄干草,新鲜的奶油和阳光,在点手法绘出的蓝色天空之下。画上又见浓墨重的黄色,如同脱胎于伦勃朗的调色盘。但那不是梵高。Disappointed, I got back in my car and decided to try to find another van Gogh location on my list: Langlois Bridge, a drawbridge on the outskirts of Arles, which he depicted nine times in 1888. I knew it was still there because it’s now called Pont Van-Gogh.大失所望的我回到车里,决定寻找我的单子上另一个与梵高有关的地点:阿尔勒郊外的朗格鲁瓦吊桥,他在1888年画这座桥画了九次。我知道它仍在那里,因为它现在叫做梵高桥。The Borinage, Belgium比利时里纳日I began my journey not in van Gogh’s birthplace, but in the location where van Gogh the artist came to life: in the gritty, drab eastern coal-mining region of Belgium called the Borinage, where van Gogh at age 25 went to minister to the destitute, soot-blackened workers of the coal pits. Because this is where he was rejected from the priesthood and began his artistic career, the city of Mons has declared this the “birthplace of the artist,” with a host of events and an exhibition of his early work at the Museum of Fine Arts, in Mons, which ended in May. (Van Gogh’s birthplace was in Zundert, the Netherlands.)我此行的起点不是梵高的出生地,而是梵高作为画家的诞生地:在比利时东部破旧乏味的煤矿区里纳日,25岁的梵高曾在这里向煤矿里贫穷、被煤灰熏得漆黑的工人布道。因为他就是在这里被剥夺了传道士的身份,开始了艺术家的生涯,蒙斯城已经宣布这里是“这位艺术家的诞生地”。蒙斯的美术馆举办了大量活动和早期作品展,这些活动已经于5月结束(梵高的出生地是荷兰的津德尔特)。Van Gogh lived in a few locations in Mons; but he found himself ashamed to be living so well while the people to whom he ministered lived in overcrowded huts, and so he jettisoned his middle-class possessions and moved into smaller and simpler homes. He had started out in a large home up the hill from the local mine, in a red brick house he rented from a landlord named Jean-Baptiste Denis.梵高在蒙斯的几个地方居住过,但是他发现自己羞耻于自己过着优越的生活,听他传道的人们却只能生活在拥挤棚屋里,所以他放弃了中产阶级的财产,搬到了更小更简陋的房子里。他开始时租住在山上的一所大红砖房子里,房东名叫让-巴蒂斯特·丹尼斯(Jean-Baptiste Denis)。Everyone I spoke to told me that Maison Denis was only about a 15-minute drive outside Mons, but it took me an hour of driving in circles. It’s not on any map and I got there by chance: I asked directions from a man who happened to be a private van Gogh tour guide in the area. Finally, there it was: At the bitter end of a seemingly endless stretch of ramshackle rowhouses at 221, rue Wilson was a square red brick house with a red tile roof, only a bit larger than the houses that surrounded it.人们都告诉我,这栋房子位于蒙斯城外,相距只有15分钟左右车程,但我花了一小时才找到。地图上没有这个地方,我能找到全凭运气:我向一名男子问路,而他刚好是该地区的一名私人梵高路线导游。最后,我终于看到了它,在威尔森街221号的一排似乎没有尽头的破破烂烂的房屋的最远端,有一栋方方正正的红砖房子,屋顶铺着红瓦,比周围的房屋稍大一点。The home was one of the sites that Mr. van den Eijnden of the Van Gogh Europe Foundation had told me was nearly dilapidated, but thanks to fund-raising by a local foundation for Van Gogh Year, renovation of the house was underway. The house was still shuttered and there was a large fence around the property, but I walked to the edge of the backyard, where it bordered a grassy field blanketed in wildflowers that followed all the way down the hill to where I could see the colliery of the Marcasse mine, now closed. The refurbished house has since opened as Maison Van Gogh in Colfontaine, and can be visited on weekends from 10 a.m. to 6 p.m. 梵高欧洲基金会的范登艾金登告诉我,许多与梵高有关的宅子都已经倾圮,这座房屋是其中之一,多亏了当地的一家基金会为梵高年进行的筹资,这栋房屋的翻新正在进行当中。房屋仍然关闭,外面围着巨大的栅栏,我走到了后院的边上,它毗邻的草地上开满野花,从山下一直开到我能看到马卡斯煤矿的地方。这座煤矿现在已经关闭。房屋经过修缮目前已经重新开放,叫做“科尔方丹的梵高故居”(Maison Van Gogh in Colfontaine),周末上午10点到下午6点可供参观。The attraction’s previously poor state was in sharp contrast to the other landmark van Gogh home in the Borinage, in the village of Cuesmes, Maison Van Gogh, a quaint cottage on a plot of grass at the end of a gravel road where van Gogh lived in 1879 and 1880. This was the location where he regrouped after he was told to abandon his ministry because he had disgraced the church, and where he wrote a letter to his brother, Theo, telling him he would like to try his hand at art. “Try to understand the last word of what the great artists, the serious masters, say in their masterpieces; there will be God in it,” he wrote. “Someone has written or said it in a book, someone in a painting.”这个景点之前的破败景象,与另一处位于尔纳日奎姆村的梵高故居形成了鲜明对比。这所别致的小房子位于一条砂砾路尽头的草地上,梵高1879年和1880年曾在此居住。正是在这里,他因为令教廷蒙羞被要求放弃传教士的工作,他写信给弟弟提奥,跟他说自己想要尝试画画。“试着理解伟大的艺术家、严肃的大师在作品中表达的最后一句话;那里面会有上帝,”他写道。“有人在书里写作或表达,有人在画中。”Inside this tourist site (which has an admission fee of 4 euros, or about .25 at .06 to the euro) I was one of only a few visitors, and watched a short biographical , looked at some of van Gogh’s early, clumsy sketches displayed in a glass vitrine and spent a few minutes among his spartan furnishings — a small wooden writing table, a chair and a wood-burning stove.在这处故居中(门票4欧元,即大约4.25美元),我是为数不多的参观者之一,我观看了一部梵高的传记短片,欣赏了玻璃橱窗里展示的一些粗糙的早期素描,花了几分钟看了看他简朴的家具——一张小木书桌,一把椅子,一个燃烧着木头的壁炉。Nuenen, the Netherlands荷兰纽南After he had resolved to devote himself to art, van Gogh moved back to the Netherlands, to live with his parents for two years in the town of Nuenen, where his father was the local minister. This town is proud of its legacy as the place where the itinerant artist remained for the longest stretch of his adult life, and where he painted “The Potato Eaters,” which is now known as his early masterpiece.决心投身绘画之后,梵高搬回了荷兰,与在纽南的父母生活了两年。他的父亲是当地的一名牧师。令这座小城自豪的是,这位四处漂泊的艺术家成年期间在这里居住了最长时间,而且这里也是《吃马铃薯的人》的创作地。这幅画目前被认为是梵高的早期杰作之一。Nuenen has turned the former town hall into the Vincentre, with a museum largely devoted to van Gogh’s family relationships, a cafe and a gift shop. The center is at the heart of Van Gogh Village Neunen, and the starting point of an outdoor museum, a 22-point walking or biking tour that takes you to some lovely locations where van Gogh painted, and to the Starry Night bike path that lights up with swirls of twinkling stones after dark.纽南已经把从前的市政厅变成了文森特中心(Vincentre),包括一座基本上完全用来展示梵高家庭关系的物馆,一家咖啡馆和一家礼品商店。这个中心是纽南梵高村的核心,也是一个户外物馆的起点,可以步行或骑自行车游览22处景点,包括梵高画过的一些美景,《星夜》自行车道上的石头在天黑之后呈现出螺旋形的灯光。It is also directly across the street from van Gogh’s family home, a two-story brick house, now a private residence that one can’t visit. Next to it is the home of Margot Begemann, the girl next door, who fell in love with the artist and tried to poison herself with strychnine when her family objected to the affair. Her family home, called Nune Ville, which came on the market recently by chance, has become a focus of efforts by local historic preservationists who would like to turn it too into a van Gogh heritage site.马路对面正好是梵高父母的家,一栋两层的砖房,现在是一处私人住宅,无法参观。它旁边是玛高特·贝格曼(Margot Begemann)的家,这个隔壁女孩爱上了梵高,当她的家庭阻止他们的恋情之后,她曾试图用番木鳖碱自杀。她家的房子名叫 “Nune Ville”,已经成为当地历史保护专家的重点保护对象,他们也想把它打造成一处梵高的遗产。Over last summer, when I visited, most of the rooms of the stately home were given over to contemporary artists who had created room-size installations inspired by van Gogh, in an exhibition called “The Vincent Affair,” which ended in October. Since then, attempts to find investors who could help turn the site into a permanent tourist spot have stalled, Mr. van den Eijnden said.去年夏天,我来参观的时候,这个庄重住宅的多数房间都被当代艺术家占据,他们受到梵高的启发,创作了一些房间大小的艺术装置,展览的名字叫“文森特集市”(The Vincent Affair),10月份结束。范登艾金登说,此后,寻找投资者把这里变成长期旅游景点的努力陷入停滞。Montmartre, Paris巴黎蒙马特Van Gogh didn’t stay in Nuenen long after the end of the Margot Begemann affair. He moved first to Antwerp, Belgium, and then to Paris, where his brother Theo had a job as an art dealer with the leading art gallery, Goupil amp; Cie. Van Gogh moved into his brother’s third-floor apartment at 54, rue Lepic in Montmartre, which is a private residence now, and designated only by a marble plaque: “Dans cette maison Vincent van Gogh a vécu chez son frère Théo de 1886 à 1888.” (“In this house Vincent van Gogh lived at his brother Théo’s place from 1886 to 1888.”) And some plastic sunflowers dangle from the window grate.在与玛高特·贝格曼的爱情告终之后,梵高没有在纽南待太长时间。他搬到了比利时的安特卫普,然后又搬到了巴黎。他的兄弟提奥在巴黎顶尖的画廊Coupilamp;Cie做艺术品交易的工作。梵高搬到了弟弟位于勒皮克大街54号三楼的公寓。这里现在是一处私人住宅,只有一块大理石板上写着,“1886年到1888年,文森特·梵高来到这栋房子与弟弟提奥同住。”窗户的格栏上挂着几朵塑料向日葵。The Rue Lepic arcs upward through Montmartre, passing the old windmills, and ultimately arrives at the Sacré-Coeur. On the way up, one can discover many prime landmarks of the nearly two years that van Gogh spent here, including the apartment of his friend Henri Toulouse-Lautrec and the oldest surviving Parisian vineyard, where van Gogh sometimes painted, now on Rue Saint Vincent.勒皮克大街向北蜿蜒穿过蒙马特,经过一些老风车,最终抵达圣心圣殿。在路上可以发现梵高在这度过的两年留下的许多足迹,包括他的友人亨利·图卢兹-罗特列克(Henri de Toulouse-Lautrec)的公寓,以及现在位于圣文森特街的最古老的巴黎葡萄园,梵高有时会在这里画画。The area, which was a hamlet outside Paris when van Gogh lived there, was critical to his progress as a painter, because it is where he met many of the Impressionists and other artists, including his friend Paul Gauguin, and imitated and explored various Parisian painting styles. There are no physical landmarks one can enter and explore in Montmartre to get a sense of how he lived, though there are museums, like the Musée d’Orsay, that now contain his work.梵高在那里居住时,这片地区是巴黎城外的一个小村子。这里对于他作为画家的成长至关重要,因为他遇见了许多印象主义和其他流派的画家,包括好友保罗·高更,模仿并探索了巴黎的各种绘画风格。在蒙马特没有一个有形的场所可以让你走进去探索并感受梵高当时的生活,但是有些物馆收藏了他的作品,比如奥赛物馆。Provence, France法国普罗旺斯Finding original artworks by van Gogh in most of the locations I visited would have been nearly impossible except for the special exhibitions designed for Van Gogh Year. The Fondation Van Gogh in Arles, an expansive exhibition space topped with an artwork of colored glass refracting Proven light through its roof, which opened in 2014, is a notable exception. Through an agreement with the Van Gogh Museum in Amsterdam, the foundation will have one original van Gogh painting on display year-round.在我参观的多数地方,想找到梵高的真迹几乎都是不可能的,除非是在专门为梵高年举办的展览上。阿尔勒的梵高基金会(Fondation Van Gogh in Arles)是一个宽敞的展览空间,顶棚是色玻璃的艺术设计,可以让普罗旺斯的阳光折射进来。这处2014年开设的场所是一个例外。凭借与阿姆斯特丹的梵高物馆的一份协议,基金会全年都会展示一幅梵高的真迹。The final stages of van Gogh’s life are the best preserved, and they are also the most moving. After he cut off a part of his ear in Arles, he was admitted to the Arles hospital in Provence, where he painted the lush gardens that are still on display free to the public, as Espace Van Gogh. When he found that this was not sufficient treatment, his brother secured a spot for him at the asylum in St.-Rémy-de-Provence, about 30 minutes to the north. The drive there took me past the endless stretches of sunflowers now so closely associated with his art, and through the foothills of the range of small mountains at the base of the Alps, called the Alpilles, where he painted a series of “Wheat Fields” and his most famous “Starry Night.”梵高人生最后几个阶段的故居保存最完好,也最打动人。他在阿尔勒切掉了一片耳朵之后,被送到了普罗旺斯的阿尔勒医院,他在那里画下的郁郁葱葱的花园目前仍然免费展示给公众,这家医院目前叫做梵高医院。当他发现这里不能提供足够的治疗时,他的弟弟在北部30分钟路程的普罗旺斯的圣雷米的精神病院为他安排了一个床位。开车前往这家精神病院的途中,我路过了一片片绵延不断的向日葵,以及阿尔卑斯山脚下的山麓丘陵,叫做阿尔皮勒,梵高在这里画下了《麦田》系列和最著名的《星夜》。The municipality of St. Rémy has done van Gogh tourists a service by creating a 19-point walking tour from the city center called Promenade de van Gogh, which can be complemented with an app called Van Gogh Natures that adds information about paintings he made in and around the asylum. I followed this self-guided tour up the hill, finding myself softly whispering: “Vincent, where are you? Are you here?” I realized, for the first time on my journey, that I had come in search of a ghost.圣雷米市为梵高的游客提供了一个从市中心出发的包含19个景点的徒步旅行路线,叫做梵高人行道,游客还可以下载Van Gogh Natures的应用程序,获取关于他在精神病院和周围创作的画作的信息。我按图索骥来到了山上,突然发现自己在轻声低语:“文森特,你在哪呢?你在这儿吗?”我在旅行中第一次意识到,我是在寻找一个灵魂。The destination was the St. Paul de Mausole, a Romanesque former religious cloister that is part of a still-functioning mental hospital, and its sumptuous surrounding gardens. Depending on the season when you visit, you can find all the beautiful irises and lilies that inspired van Gogh’s paintings. And around the asylum are the twisted olive groves and the tall elegant cypresses that he captured with dense, emotional brushwork.终点是莫索尔的圣保罗修道院(Saint Paul de Mausole)和它周围华丽的花园。这里曾经是一个罗曼式建筑风格的修道院,目前属于一所精神病院。在适当的季节,你可以看到为梵高绘画带去灵感的美丽的鸢尾花和百合。精神病院周围是扭曲的橄榄树,以及他曾经用浓烈而情绪化的笔触描绘过的高耸而优雅的丝柏树。Inside the cool cloister, through its medieval stone halls and up the shallow Romanesque stairs, is van Gogh’s preserved former room at the asylum. The steel bars on the windows are a jarring counterpoint to the easel positioned next to his wrought-iron bed, but what is more shocking is the room next door with two steel baths used for administering “hydrotherapy treatments” — only a hint of the therapeutic tortures he might have endured here. I wandered through the gardens for a moment of calm after seeing the hospital cell, my mind raging with thoughts of van Gogh’s suffering, and wondering how he managed to paint at all during the time he was at the asylum — let alone make 143 oil paintings and 100 drawings.在修道院内,穿过中世纪的石头大厅和浅浅的罗曼式的楼梯,就来到了梵高在精神病院住过的房间。窗户上的钢铁栅栏和他铁床边的画架形成了强烈的反差,但更加令人震惊的是,隔壁的房间有两个用于“水疗护理”的钢铁浴盆——这只会让人联想到他可能遭受的折磨。在参观完了病房之后,我在花园中游荡,寻找片刻宁静,满脑子都在想梵高的痛苦,我好奇他在精神病院里是怎么画画的——更不用说他还创作了143幅油画和100幅素描。Auvers-sur-Oise, France法国瓦兹河畔欧韦Van Gogh’s troubles did not end, though he finally left the St. Rémy hospital. He made his way back to northern France, to the town of Auvers-sur-Oise, about a 30-minute drive from Paris. It is where I visited the most poignant landmark, Van Gogh’s Room in the historic inn Auberge Ravoux. This tiny second-floor room (even smaller than his room at the asylum) remained empty for years after van Gogh died, suffering the curse of any French hotel room that was thought to be the scene of a suicide, and has been restored entirely through the efforts of a citizen, Dominique-Charles Janssens. This room, where van Gogh completed more than 80 paintings in just 70 days, with its only access to natural light a small ceiling window, is reminiscent of a coffin. Here is where van Gogh died of a fatal gunshot wound — probably self-inflicted — with his brother at his side.虽然梵高最终离开了圣雷米精神病院,他的不幸没有结束。他回到了法国北部的瓦兹河畔欧韦镇,这里距离巴黎有30分钟车程。我在那里参观了最令人印象深刻的地标,梵高在历史悠久的拉乌餐厅旅馆(Auberge Ravoux)的房间。因为被认为是自杀的不祥之地,这个二楼的小房间(比他在精神病院的房间还小)在梵高去世之后空了很多年,通过一位名叫多米尼克 - 查尔斯詹森的公民的努力得到了完全的修复。在这个房间里,梵高用了仅仅70天的时间完成了超过80幅画作,屋子里只能通过天花板上的小窗获得一些自然光,感觉就像一口棺材。梵高在这里死于致命伤——可能是自己开的——弟弟当时就在他身边。And in close walking distance is his grave, alongside his brother and confidante, Theo, who died six months later, at age 33.他的坟墓就在附近,葬在他身边的是弟弟兼好友提奥。提奥在梵高去世的六个月后去世,终年33岁。What is more compelling, however, was a short walk away from his grave: the wheat fields down the dusty road where he painted his final series of canvases.不过,从他的坟墓走不了多远,有更为值得一看的地方:沿着尘土飞扬的路走下去,是一片麦田,梵高在这里创作了他最后系列的油画作品。By the end, the trip became something of a pilgrimage. I had gone to where van Gogh trekked alone with his easel on his back, gazing at the crooked olive groves, the obelisk-like cypresses and the swirling starry nights.到了最后,这趟旅程已经有了几分朝圣的味道。我来到了梵高背着画板独自远行,以及他凝视着歪橄榄树、方尖碑样的丝柏树和令人眩晕的星夜的地方。When I tramped down a dirt road along a river in Arles to the Pont de Langlois, which van Gogh depicted in four drawings, one watercolor and four oil paintings, I wondered: Why, when living in the center of a city like Arles, dotted with beautiful Roman ruins that filtered evening light in dramatic and wonderful ways, he was instead attracted, over and over again, to this slightly old-fashioned little drawbridge miles outside of town. And, having come all the way from Amsterdam, through so many van Gogh locations, I realized that I knew. Although van Gogh traveled far to discover the right effects, the right light and the right subjects for his paintings, all the while he was longing for a sense of home.当我踏着阿尔勒一条河边的泥土路,来到梵高在四幅素描、一幅水和四幅油画中描绘过的朗格鲁瓦吊桥,我在想:梵高住在阿尔勒这样一座城市的市中心,周围散落着美丽的罗曼式旧建筑遗迹,以奇妙和梦幻的方式照进夜晚的灯光,为何他还一次次地执迷于城外几里地远的这座有点过时的小吊桥?从阿姆斯特丹千里迢迢来到这里,造访了那么多梵高的故居之后,我意识到,我知道。尽管梵高为了寻找恰当的效果、光线和绘画对象而远走他乡,但他一直都渴望家的感觉。The more I traveled the more I became fascinated by this man van Gogh, who transmuted the reality of things he saw into images that are more real than real. The landmarks provided me with a starting point, from which I could travel out, and get a sense of the distances he traveled, both physically and mentally, to achieve the remarkable heights of artistic creation in the short span of a 10-year career.走的地方越多,我对梵高就愈加着迷。他把眼中的世界幻化了比真实更加真实的画面。这些地标是我的起点,我可以继续远行,去感受梵高在短短10年绘画生涯中要达到如此惊人艺术创作高度,其肉体和心灵所走过的距离。IF YOU GO参观建议In the Netherlands荷兰Van Gogh Museum in Amsterdam (Museumplein 6; 31-20-570-5200; Vangoghmuseum.nl) is the world’s largest trove of artworks by van Gogh. It is in the heart of Amsterdam, with a permanent exhibition of his work as well as temporary exhibitions that relate his works to other great artists.阿姆斯特丹的梵高物馆(Museumplein 6; 31-20-570-5200;vangoghmuseum.nl)是世界上最大的梵高作品收藏中心。它位于阿姆斯特丹的中心位置,长期展出他的作品,以及与其作品有关的当代展览。Vincentre / Van Gogh Village Nuenen(Vincentre Berg 29, Nuenen; 31-40-283-9615; for biking and walking tours, April through October), a small museum, is the beginning of an open-air walking tour that takes you through important locations for van Gogh’s painting in Nuenen, where he lived with his parents for two years, and fell in love with Margot Begemann. (Above, van Gogh’s father’s Reformed Church in Nuenen.)文森特中心/纽南梵高村(Vincentre Berg 29, Nuenen; 31-40-283-9615; 4月到10月,自行车和徒步旅游路线),一家小型物馆,你可以从这里开始一次露天的徒步之旅,途径梵高画作中在纽南的重要景点。梵高在纽南与父母居住两年,并在这里爱上了玛高特·贝格曼。Van Gogh Starry Night Bike Path(vangoghvillagenuenen.nl/het-vincentre.aspx), which lights up at night, begins at the Opwettense watermill in Nuenen and ends at the Collse Watermill in Eindhoven.梵高星夜自行车道(vangoghvillagenuenen.nl/het-vincentre.aspx),道路在夜晚会发光,起点是纽南的Opwettense 水车,终点是埃因霍温的Collse水车。Van Gogh House in Zundert(Markt 27, Zundert; 31-76-597-19 99; vangoghhuis.com), where van Gogh was born, was torn down in 1903, but the new house was built in 2008 with a permanent exhibition about his birthplace, Zundert.津德尔特的梵高故居(Markt 27, Zundert; 31-76-597-19 99;vangoghhuis.com),梵高出生的地方,1903年被拆除,2008年重建,长期举办关于梵高的展览。In Belgium比利时The Borinage: Maison Van Gogh (Rue du Pavillon 3, Cuesmes; en.maisonvangogh.mons.be), just outside of Mons, in bucolic Cuesmes, is a little brick house and museum that tells the story of van Gogh’s time in this part of Belgium. (Above, inside Maison Van Gogh in Cuesmes, the Borinage.)里纳日:梵高故居(Rue du Pavillon 3, Cuesmes;en.maisonvangogh.mons.be),一栋小砖房,如今是一座物馆,讲述着梵高在比利时这个地区度过的时光。Maison Van Gogh in Colfontaine(Rue Wilson 221, formerly rue du Petit-Wasmes, Colfontaine; mons2015.eu/en/maison-van-gogh-colfontaine), also known as Maison Denis, the newly renovated house van Gogh rented when he arrived in Mons to be an evangelist, is near the Marcasse Mine.科尔方丹的梵高故居(Rue Wilson 221, formerly rue du Petit-Wasmes, Colfontaine; mons2015.eu/en/maison-van-gogh-colfontaine),也被称作丹尼斯的房子,这是梵高抵达蒙斯担任福音传道者时租住的房子,目前已经被翻修,位于马卡斯煤矿附近。BAM/Musée des Beaux-Arts in Mons(Rue Neuve, 8, Mons; 32-65-39-5939; www.bam.mons.be/) had an exhibition dedicated to van Gogh in the Borinage in 2015, but that show is now over. But exhibitions are often linked to the painter, who had a tremendous influence in Mons.蒙斯美术馆(Rue Neuve, 8, Mons; 32-65-39-5939; www.bam.mons.be/)2015年举办了一个关于梵高在里纳日的展览,目前已经结束。但这里的展览经常与梵高有关,梵高对蒙斯产生了深远的影响。In France法国Fondation Vincent Van Gogh in Arles(35 rue du Dr. Fanton; Arles; fondation-vincentvangogh-arles.org/), in the center of the old city of Arles, is a great place to begin a tour of van Gogh locations throughout Arles. Exhibitions are connected to van Gogh’s work; and at least one original van Gogh painting is on display in the museum all year round.阿尔勒的文森特·梵高基金会(35 rue du Dr. Fanton; Arles; fondation-vincentvangogh-arles.org/),位于阿尔勒老城的中心,从这里开始在阿尔勒寻访梵高的足迹再合适不过了。这里的展览都与梵高的作品有关,全年至少有一幅梵高的真迹在物馆展出。St. Paul de Mausole Monastery(Chemin St. Paul, 13210 St.-Rémy-de-Provence; 33-4-90-92-77-00) is the “asylum” where van Gogh received treatment in St.-Rémy-de-Provence, and where you can visit his former room and see the lush gardens and landscapes he painted during his time there. Different flowers are in bloom throughout the year; check for seasons for irises, almond blossoms and sunflowers.莫索尔的圣保罗修道院 (Chemin St. Paul, 13210 St.-Rémy-de-Provence; 33-4-90-92-77-00)是梵高在普罗旺斯的圣雷米接受治疗的“精神病院”,你可以在这里参观他当时的病房,看到他在此治疗期间画过的茂盛的花园和风景。全年都有不同的花儿绽放;在适当的季节可以看到鸢尾花、杏花和向日葵。Maison de Van Gogh(Place de la Mairie, Auvers-sur-Oise; 33-1-30-36-60-60), the restaurant and inn Auberge Ravoux, the last place where van Gogh lived, and where he died. You can see the tiny room he inhabited, and eat a classic French meal at the lovely restaurant downstairs.梵高故居(Place de la Mairie, Auvers-sur-Oise; 33-1-30-36-60-60),拉乌餐厅旅馆,梵高居住过的最后一个地方,他也在这里走完了人生。你可以看见他居住的小房间,在楼下的迷人的餐厅享受一顿传统的法餐。 /201602/426533江门市哪家医院治疗包皮好Earlier this year the desk on which Charles Dickens wrote Great Expectations went up for sale. It was a clumpy Victorian piece of furniture, made of dark mahogany with heavy drawers on either side in a style so unfashionable that similar ones are to be had on Ebay for about 500.今年早些时候,查尔斯狄更斯(Charles Dickens)写《远大前程》(Great Expectations)时所用的桌子要出售了。那是一件笨重的维多利亚时期家具,用暗色桃花心木制成,两边都有沉重的抽屉,这种风格实在太过时了,类似的款式在Ebay上只要大概500英镑就可以买到。Yet such is the relationship between a person and his workstation that this particular desk — along with the chair on which the author placed his famous behind — is now on display at his former house in Doughty Street, thanks to a charitable grant of more than 780,000.然而,一个人和他的工作台的关系就是如此紧密,得益于一笔超过78万英镑的慈善捐款,这张桌子——和作者著名的臀部曾经坐过的那把椅子一起——现在都在伦敦道蒂街(Doughty Street)的狄更斯故居里展出。Desks tell us a good deal about the person who sits at them — as well as about the time at which the sitting was done. What Dickens’ desk says is that writing is a serious but solitary business — and that the man who wrote here was important and prosperous.桌子能够极大地揭示坐在桌旁的人是一个什么样的人、以及这个人坐在桌旁时处于一个什么样的时代。狄更斯的桌子透露出,写作是件严肃但孤独的事情,曾经在这张桌子上写作的那个人是个事业成功的重要人物。My desk is made of beige melamine with grey metal legs and designed to slot together with similar ones. It is not a thing of beauty; its only design quirk is a scooped out arc in the middle at the front, as if to accommodate a beer belly.我的桌子是米色的三聚氰胺板制成的,灰色金属桌腿,其设计目的是为了和相似的桌子拼在一起。它并不美;唯一有设计感的地方是在桌子前部中间呈弧形凹进去,就像是为了让有啤酒肚的人坐着舒适。This desk says I work in a democratic, faceless age, preoccupied by the ideas of teamwork and practicality. The scoop tells you not about the girth of workers, but that we care about ergonomics. The chair that goes with it is so comfortable that its occupant can sit there for 12 hours at a stretch without discomfort.这张桌子透露出,我生活在一个民主、缺乏个性的时代,这个时代的主导思想是团队合作和实用主义。那个凹陷的设计透露出的不是员工的身材,而是我们对人体工程学的关注。这张桌子配备的椅子如此舒适,在上面连续坐上12个小时也不会难受。On my desk, alongside a computer, various old sandwich wrappers, some management books, old newspapers and magazines, a grubby sling, a bike helmet and a clutter of pens and papers are lying around. In the drawers, along with Biros and tights, is a BlackBerry box dating from a decade ago. The clues are not hard to decipher: I cycle, Ihurt my arm recently, I do not take proper lunch breaks and my job involves scanning publications for ideas.在我的桌子上,除了一台电脑,还散落着各种各样用过的三明治包装纸,一些管理学书籍,旧报纸和杂志,一条脏兮兮的手臂悬带,一个自行车头盔,还有一堆笔和纸。抽屉里,除了一些圆珠笔和丝袜,还有一个有10多年历史的黑莓(BlackBerry)手机盒子。这些线索不难解读:我骑自行车,我最近弄伤过胳膊,我没有用午休时间正经吃午餐,以及我的工作涉及通过阅读来获取灵感。It also tells you that I have been sitting in this very place for a long time.这张办公桌还透露出,我已经在这个位置坐了很长一段时间了。In this, I am becoming increasingly unusual. More and more, the typical office desk has nothing on it, as the amount of time any given worker sits in a particular spot is one day. When hot desking was introduced some 15 years ago, no one thought it would ever catch on.就这一点而言,我正日益变成少数派。一张办公桌上空无一物将日益成为常态,因为任何一个员工坐在特定的某张桌子旁的时间也就是一天。大约15年前非固定办公桌(Hot-desking,又称办公桌轮用制)出现在办公室的时候,没人认为这种做法会流行起来。Now they do it in Whitehall, where earlier this year there was a minor scandal over workers queuing for desks. The civil service has a rule that there should be seven desks for every 10 workers — you do not need to be a mathematical genius to see the charm of this potential cost saving of 30 per cent. They do it at the B, where the desk shortage has been famously satirised in the comic television drama W1A. Even the governor of the Bank of England does it. When he took over the BoE, Mark Carney was so determined to be modern he took his laptop and went to squat at the desks of different departments (though he kept his own desk in his private office to fall back on).现在,白厅(Whitehall)就采取这种做法,今年早些时候还闹出一桩小小的丑闻——在那里上班的人得排队使用办公桌。公务员系统有规定,要求每10人应配有7张桌子——你不必是个数学天才也能看出可能节省30%的成本挺不错的。英国广播公司(B)也这么干,电视喜剧《W1A》有段著名的情节就是讽刺该公司办公桌的短缺。甚至英国央行行长也这么干。执掌英国央行后,马克愠尼(Mark Carney)如此坚决地要做一个现代人,于是他带上笔记本到各个不同部门占用办公桌(尽管保险起见,他还保留着自己私人办公室的办公桌)。Yet this vision of the worker, a nomad who wanders around clutching the tools of his trade, which seems so very modern, is not at all new. Hot-desking was a 16th-century phenomenon. The only difference was that scribes lugged the desk — or deske — around with them from job to job. The deske was a legless wood box with a sloping top on which the scribe leaned as he wrote down the words of whoever hired him. The desks of both scribe and hot-desker tell a story of rootlessness, that they are brains for hire, and likely to move on whenever it suits them.员工的这种形象——像游牧民那样带着自己的谋生工具四处游荡——似乎十分现代,但一点也不新鲜。非固定办公桌在16世纪就出现了。唯一的区别是当时的抄写员是拖着桌子(deske,不同于现代英语中的桌子(desk))辗转于不同的工作地点。当时的桌子是一个没有桌腿的木箱,桌面是倾斜的,抄写员伏在倾斜的桌面上抄写雇主让他抄写的文字。16世纪的抄写员和现代使用非固定办公桌的职员,他们的桌子都讲述了一个漂泊不定的故事,他们是供雇佣的脑力劳动者,会在任何需要的时候转换工作地点。In the few hundred years between the deske and hotdesk, this piece of furniture has told a different story, which has been mainly about status.从“deske”到“hotdesk”的几百年间,这件家具讲述了一个不同的故事,主要是关于地位。The rule was simple: the larger it was and the more expensive the wood, the grander its occupant. The more the desk looked as if it might belong in a sitting room, the more distant its owner was pretending to be from the work itself, and therefore the greater the power.规则很简单:桌子越大,木材越昂贵,其占有者就越是位高权重。桌子越像是本应放在客厅的桌子,其所有者越是假装远离工作,因此其权力就越大。The desk was also a physical way to establish distance. All visits to an executive office took place with the exec on one side of his mammoth slab of a desk, and the visitor on the other. This a the executive to pull all sorts of tricks to remind everyone who had the upper hand. I remember visiting Lord Weinstock in his office at General Electric in the early 1990s to find him sitting in a pool of light on his side, while the visitor was expected to sit in darkness.桌子也是一种实实在在制造距离的方式。所有造访高管办公室的情景,都是高管在他巨大的桌子的一边,访客则处于另一边。这让高管可以使尽各种招数提醒所有人谁占了上风。我还记得上世纪90年代初造访温斯托克勋爵(Lord Weinstock)在GEC的办公室,我发现他坐在一片光亮之中,而来访者则要坐在黑暗里。The early white-collar workers stood or perched on stools at high wooden desks in damp basements and garrets, where they were quite likely to contract tuberculosis as well as eye strain.早期的白领在潮湿的地下室和阁楼里,站着或坐在凳子上,在高高的木桌旁工作,他们在工作中很可能会患上肺结核,或者眼疲劳。But then when the first big office building went up at the end of the 19th century, clerks were seated at identical desks, arranged in lines like in a factory. Nearly 150 years later, offices might have football tables, but little has changed in the basic layout. In most offices workers are crowded into identical desks arranged in lines.等到了19世纪末,第一批大型办公楼建起来的时候,职员们都坐在一模一样的桌子旁,像工厂里那样排列成行。近150年过去了,办公室或许有了足球桌,但基本格局没多大变化。在大多数办公室里,员工们依然挤在排列成行的相同办公桌旁边。But then hierarchies started to topple, and overt displays of power expressed through size of furniture were out. The modern corporate ethos is all about openness. So meetings are held at sofas on which host and guest perch awkwardly, apparently equal, side by side.然后,等级制度开始瓦解,通过家具的大小来公开展示权力的方式过时了。现代企业的理念都与开放性相关。因此,现在主客会面时是尴尬地并肩坐在沙发上,主客之间看上去地位平等。In modern companies the CEO’s desk is likely to be identical in size and material to the desk of his PA (if he still has such a thing). No one believes this nod to equality — pay disparities are greater than ever, and the reverence shown to the top person is rising — but now it is vulgar to flaunt status through furniture.在现代企业中,首席执行官的桌子可能和他的个人助理(如果他还有个人助理的话)的桌子拥有相同的大小和材质。没人相信这代表平等——收入差距比以往任何时候都大,社会对金字塔顶端人物的崇敬也在上升——但现在通过家具来炫耀地位是庸俗的做法。The current way to use your desk to show off is by dispensing with your chair. Indeed, in a reversion to the earliest offices, standing is back in.现在利用你的桌子来炫耀的方式是抛弃你的椅子。事实上,最早的办公室里采用过的站立式工作又开始流行起来了。But this time it is not fashionable employers can pack people in, and save on the cost of a chair — just the opposite. Workers no longer stand as a sign that employers do not care about their wellbeing, but as evidence that they do.但这一次,这种方式的流行不是因为雇主能够在办公室多塞进几个人,以及节省椅子的成本——正好相反:员工站着工作不再明雇主不关心他们的健康,而是明他们关心。Sitting, doctors will tell you, gives you diabetes, makes you obese and may kill you. Not only in fashionable companies such as Google and Facebook, the rows of people sitting at their desk are interrupted by people standing. Some of these desks are like normal ones on stilts, while others are elevator desks that can be either up or down depending on whether you feel like being on your feet or on your bottom.医生们会告诉你,久坐会让你得糖尿病,让你肥胖,甚至可能致死。现在,不仅是在谷歌(Google)和Facebook这样时髦的公司,坐着办公的人之间会间或出现一些站着办公的人。这些桌子有的像是高了的正常桌子,有的则是升降桌,可以根据你是想站着还是坐着自由调节高度。Of higher status still is a tmill desk, which allows you to do your spsheets while you walk on a moving loop of rubber. The message is not a subtle one and says: I care about fitness. I multitask, I do not waste a second of my valuable time. My company has spent a lot of money on me, and I don’t care if the noise of me galumphing along is distracting my colleagues.地位更高的人可以用跑步机桌子,你可以一边在移动的橡胶跑带上行走一边做电子表格。这透露出的讯息很明显:我关心健康。我可以同时处理多个任务,我不会浪费我宝贵时间中的一分一秒。我的公司在我身上花了很多钱,我不在乎我行走的声音会不会打扰我的同事。Yet even this is not the last word in status. Not long ago LinkedIn did a series about where its “key influencers” worked. Here were lots of boring desks, many of them not unlike mine. But in the middle was a picture of Sir Richard Branson working with colleagues on a beach.然而,即使如此,这也不是地位的终极象征。不久前,领英(LinkedIn)制作了一个具有 “关键影响力的人物”(key influencer)在哪里工作的系列活动。其中有很多乏味的桌子,很多和我的不无相像。但在中间有张理查德布兰森爵士(Sir Richard Branson)和同事们在沙滩上工作的照片。This is the ultimate status symbol: not to have a desk at all.这才是终极的地位象征:根本就不用桌子。 /201509/399788江门男科医院那个比较好


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