Portrait of Adele Bloch-Bauer I《阿黛爾·布洛赫-鮑爾肖像一號(hào)》

埃米莉·斯諾/文　愛(ài)藝/譯

Who was Adele Bloch-Bauer？

阿黛爾·布洛赫-鮑爾是誰(shuí)？

In turn-of-the-century Vienna， wealthy Jewish socialite Ferdinand Bloch-Bauer commissioned Gustav Klimt to paint a portrait of his wife， Adele. Klimt was emerging at the forefront of the Vienna Secession movement—Austrias gilded contribution to international Art Nouveau.

在19和20世紀(jì)之交的維也納，富有的社會(huì)名流、猶太人費(fèi)迪南德·布洛赫-鮑爾委托古斯塔夫·克里姆特為妻子阿黛爾畫(huà)一幅肖像?？死锬诽厥蔷S也納分離派運(yùn)動(dòng)冉冉升起的重要人物——奧地利的這一運(yùn)動(dòng)讓國(guó)際“新藝術(shù)運(yùn)動(dòng)”更為光鮮亮麗。

Adele Bloch-Bauer was herself a figure to be reckoned with1 in the Vienna art scene. She frequently hosted a famous art salon， using her wealth and social status to support Austrian artists like Klimt.

阿黛爾·布洛赫-鮑爾本人是維也納藝術(shù)圈的重要人物。她常常舉辦的藝術(shù)沙龍很有名氣——利用自己的財(cái)富和社會(huì)地位支持克里姆特等奧地利畫(huà)家。

Upon securing the Adele Bloch-Bauer portrait commission， Gustav Klimt embarked on a laborious painting process spanning four years. Hundreds of sketches and a few specially-made costumes later， Klimt unveiled the final version of Portrait of Adele Bloch-Bauer I in 1907.

收到為阿黛爾·布洛赫-鮑爾畫(huà)像的委托后，古斯塔夫·克里姆特開(kāi)始了為期4年的創(chuàng)作，耗時(shí)且費(fèi)力?？死锬诽乩L制了數(shù)百幅草圖，后來(lái)還特制了一些服飾，于1907年完成了終版《阿黛爾·布洛赫-鮑爾肖像一號(hào)》。

Woman in gold

金衣女子

Inspired by his visit to Ravennas Byzantine gold mosaics， Gustav Klimt was fully immersed in his so-called “Golden Phase” when he began painting Portrait of Adele Bloch-Bauer I. The aptly nicknamed Woman in Gold or Lady in Gold epitomizes the multifaceted aesthetic and extremely laborious process of Klimts “Golden Phase.”

古斯塔夫·克里姆特游歷意大利拉韋納時(shí)看到拜占庭金色馬賽克壁畫(huà)，深受啟發(fā)，在動(dòng)筆開(kāi)始創(chuàng)作阿黛爾的這幅肖像時(shí)，他正處于其所謂“黃金時(shí)期”的全盛狀態(tài)。這幅畫(huà)有個(gè)恰如其分的別稱(chēng)《金衣女子》，整幅畫(huà)集中體現(xiàn)了克里姆特“黃金時(shí)期”的多元審美和極端艱辛的創(chuàng)作過(guò)程。

Like most of Klimts portraits， Portrait of Adele Bloch-Bauer I features a realistically rendered human figure， immersed in a deliberately non-representational—and highly decorative—background. Close observation of Portrait of Adele Bloch-Bauer I reveals Klimts inclusion of delicate relief work and real gold leaf amidst the oil paint.

如同克里姆特的大多數(shù)肖像畫(huà)一樣，《阿黛爾·布洛赫-鮑爾肖像一號(hào)》中的人物形象是真實(shí)呈現(xiàn)的，完全融入特意營(yíng)造的非寫(xiě)實(shí)且高度裝飾性的背景中。仔細(xì)觀察就會(huì)發(fā)現(xiàn)，克里姆特在這幅油畫(huà)中加入了精細(xì)的浮雕和真正的金箔。

Adeles face， sensual and enigmatic， stands out from the composition. Her cheeks flush as she softly gazes towards the viewer. She is surrounded by a glittering collage of aesthetic references from Art Nouveaus long， curving lines to Ancient Egypts all-seeing eye2.

阿黛爾的面龐性感而神秘，在畫(huà)中顯得尤為突出。她臉頰紅潤(rùn)，溫柔地注視著觀畫(huà)者。包圍著她的是一幅金光閃閃的拼貼，采用的藝術(shù)元素既有新藝術(shù)運(yùn)動(dòng)的長(zhǎng)長(zhǎng)曲線(xiàn)，也有古埃及的全視之眼。

Artist and muse： Adele Bloch-Bauer and Gustav Klimts relationship

畫(huà)家和靈感源泉：阿黛爾·布洛赫-鮑爾和古斯塔夫·克里姆特的關(guān)系

After a brief public exhibition， which garnered mixed reviews， Gustav Klimts Portrait of Adele Bloch-Bauer I was displayed privately in the palatial Bloch-Bauer apartment in Vienna.

古斯塔夫·克里姆特的《阿黛爾·布洛赫-鮑爾肖像一號(hào)》曾短暫公開(kāi)展覽，評(píng)價(jià)褒貶不一，之后就由布洛赫-鮑爾收藏在了維也納自家富麗堂皇的公寓里，只做私展。

Delighted with the strikingly modern painting， the Bloch-Bauers commissioned Klimt to create a second portrait of Adele. The resulting 1912 canvas demonstrates how Klimt abandoned his “Golden Phase” in favor of a vibrant color palette. The artists penchant for immaculately decorated details， however， remained intact.

布洛赫-鮑爾夫婦對(duì)這幅引人注目的現(xiàn)代畫(huà)作很滿(mǎn)意，于是委托克里姆特為阿黛爾畫(huà)第二幅肖像。那幅1912年完成的肖像展示了克里姆特如何走出其“黃金時(shí)期”，轉(zhuǎn)而采用鮮亮的色調(diào)。不過(guò)，克里姆特對(duì)完美裝飾性細(xì)節(jié)的偏好依然如故。

On top of the two portrait commissions， Ferdinand and Adele Bloch-Bauer added several landscape paintings and drawings by Gustav Klimt to their collection of modern Austrian art. In fact， Adele Bloch-Bauer dedicated an entire room in her personal chambers to Klimts work， even displaying a framed photograph of the artist.

除了委托創(chuàng)作這兩幅肖像，布洛赫-鮑爾夫婦還收藏了克里姆特的若干幅風(fēng)景畫(huà)和素描，使他們的奧地利現(xiàn)代藝術(shù)藏品更為豐富。事實(shí)上，阿黛爾·布洛赫-鮑爾在她自己的套房里專(zhuān)門(mén)辟出了一整間屋子擺放克里姆特的作品，甚至還有一張畫(huà)家本人的帶框相片。

Rumor had it that Adele Bloch-Bauers relationship with Gustav Klimt extended beyond artist and muse. Furthermore， some historians even speculate that her likeness inspired additional Klimt masterpieces—such as The Kiss3 and Judith I.

有傳言說(shuō)，阿黛爾·布洛赫-鮑爾與古斯塔夫·克里姆特的關(guān)系超越了藝術(shù)家與靈感源泉。此外，一些歷史學(xué)家甚至猜測(cè)，為阿黛爾畫(huà)像激發(fā)克里姆特創(chuàng)作出了更多杰作，比如《吻》和《朱迪斯一號(hào)》。

Reclaiming the “Mona Lisa of Austria”

索回“奧地利的《蒙娜麗莎》”

Tragically， in 1925， Adele Bloch-Bauer died suddenly of meningitis at age 42. Her husband Ferdinand kept her portrait on display at his home until the onset of World War II.

1925年，阿黛爾·布洛赫-鮑爾突患腦膜炎不幸去世，終年42歲。她的丈夫費(fèi)迪南德一直把她的肖像擺在家中，直到第二次世界大戰(zhàn)爆發(fā)。

When the Nazi regime invaded Austria in 1938， Ferdinand fled the country. His apartment， and the valuable art collection it housed， were seized by the Nazis. Like many Jewish people who were displaced by the invasion， Ferdinand was never able to reclaim his belongings.

1938年，德國(guó)納粹入侵奧地利，費(fèi)迪南德逃往國(guó)外。他的公寓和收藏其中的珍貴藝術(shù)品都被納粹掠走。和許多因納粹入侵而流離失所的猶太人一樣，費(fèi)迪南德再也無(wú)法索回自己的財(cái)產(chǎn)。

Portrait of Adele Bloch-Bauer I later ended up in the hands of the Austrian government. The Woman in Gold was exhibited at the Belvedere Gallery in Vienna for 60 years， which proudly advertised it as “the Austrian Mona Lisa.”

《阿黛爾·布洛赫-鮑爾肖像一號(hào)》后來(lái)落入奧地利政府之手。這幅別稱(chēng)《金衣女子》的名畫(huà)在維也納的美景宮美術(shù)館展出了60年，該館在宣傳時(shí)自豪地稱(chēng)它為“奧地利的《蒙娜麗莎》”。

Meanwhile， Ferdinands living relatives tried and failed to reclaim the Bloch-Bauer fortune—until the 1998 Art Restitution Law was enacted in Austria.

與此同時(shí)，費(fèi)迪南德一些在世的親屬試圖索回布洛赫-鮑爾的財(cái)產(chǎn)，可是屢試屢敗——直到1998年奧地利頒布了《藝術(shù)品歸還法》。

In 2000， Ferdinand Bloch-Bauers niece Maria Altmann， who emigrated from Vienna to Los Angeles， sued the Republic of Austria. She demanded the return of the Bloch-Bauer Klimt paintings， including Portrait of Adele Bloch-Bauer I， to their rightful heirs.

費(fèi)迪南德·布洛赫-鮑爾的侄女瑪麗亞·阿爾特曼早年從維也納移居到洛杉磯。2000年，阿爾特曼起訴奧地利，要求將布洛赫-鮑爾收藏的克里姆特的畫(huà)作，包括《阿黛爾·布洛赫-鮑爾肖像一號(hào)》，歸還給合法繼承人。

Soon， the Republic of Austria v. Altmann case garnered international attention. After a lengthy legal battle， Altmann eventually won the case. The Belvedere Gallery was then forced to turn over their most prized painting to Ferdinand and Adele Bloch-Bauers descendants.

很快，阿爾特曼訴奧地利案引起國(guó)際社會(huì)的廣泛關(guān)注。經(jīng)過(guò)漫長(zhǎng)的法律訴訟，阿爾特曼最終贏得了這場(chǎng)官司。美景宮美術(shù)館被迫將這幅視為鎮(zhèn)館之寶的珍貴畫(huà)作交還給布洛赫-鮑爾夫婦的后代。

Legacy of the portrait

肖像的后世影響

The legal controversy attracted new audiences—and new intrigue—to Klimts masterful portrait. The case even inspired a 2015 feature film4 and highlighted ongoing efforts to repatriate other Nazi-looted art.

這場(chǎng)法律爭(zhēng)斗為克里姆特創(chuàng)作的肖像畫(huà)杰作帶來(lái)了新的觀眾——也激發(fā)了新的興趣。這起案件甚至被改編成2015年上映的一部故事片，還使人們更加關(guān)注對(duì)其他納粹掠奪藝術(shù)品的持續(xù)追討。

In 2006， Maria Altmann sold the painting for $135 million—the highest price ever paid for a painting at the time. Today the Woman in Gold is on permanent display at the Neue Galerie5 in New York City alongside an impressive collection of German and Austrian art of the same period.

2006年，瑪麗亞·阿爾特曼以1.35億美元的價(jià)格出售了這幅畫(huà)——?jiǎng)?chuàng)下了當(dāng)時(shí)繪畫(huà)作品拍賣(mài)價(jià)的最高紀(jì)錄。如今，《金衣女子》在紐約的新美術(shù)館永久展出，一起展出的還有一批德國(guó)和奧地利頗具影響的同時(shí)代藝術(shù)藏品。

Gustav Klimts Portrait of Adele Bloch-Bauer I is one of the most recognizable portraits in art history today. It epitomizes the opulent， ornamental style of the Vienna Secession. Also it highlights the critical role of Jewish patrons of the arts—including women like Adele Bloch-Bauer—in shaping the aesthetics of Modernism.

古斯塔夫·克里姆特的《阿黛爾·布洛赫-鮑爾肖像一號(hào)》是當(dāng)今藝術(shù)史上最知名的肖像畫(huà)之一。它集中體現(xiàn)了維也納分離派的奢華裝飾風(fēng)格。同時(shí)，它也彰顯了藝術(shù)圈的猶太贊助人——包括阿黛爾·布洛赫-鮑爾這樣的女性——在現(xiàn)代主義美學(xué)形成過(guò)程中的重要作用。

1 reckon with sb/sth 重視。to be reckoned with 不容忽視的。

2全視之眼，又稱(chēng)上帝之眼、全知之眼，是一只在萬(wàn)丈光芒中被三角形環(huán)繞的眼睛，代表“上帝”監(jiān)視人類(lèi)的法眼。其來(lái)源可追溯到古埃及的荷魯斯之眼。荷魯斯是鷹頭神及太陽(yáng)神的化身，荷魯斯之眼是能察知世間萬(wàn)物的神圣之眼，代表著神明的庇佑與至高無(wú)上的權(quán)力。

3參見(jiàn)本刊2024年第1期封底畫(huà)介紹。

4指影片《名畫(huà)的控訴》（Women in Gold），講述了為《阿黛爾·布洛赫-鮑爾肖像一號(hào)》這幅名畫(huà)的歸屬權(quán)打官司的真實(shí)故事，并引出了二戰(zhàn)那一段沉重的歷史。該片由英美合拍，女主角由英國(guó)國(guó)寶級(jí)演員、奧斯卡影后海倫·米倫出演。該片第一次以劇情片的方式涉及了戰(zhàn)爭(zhēng)中被掠奪藝術(shù)品的歸屬問(wèn)題，這一歷史遺留問(wèn)題在全世界至今難解，片尾的簡(jiǎn)短字幕寫(xiě)道：仍有10萬(wàn)多件被盜藝術(shù)品下落不明。? 5新美術(shù)館（又譯新畫(huà)廊），2001年開(kāi)館，館名為德語(yǔ)（英語(yǔ)譯為New Gallery），下有一行小字Museum for German and Austrian Art，意指該館專(zhuān)門(mén)收藏德國(guó)和奧地利的藝術(shù)品。天價(jià)購(gòu)買(mǎi)《阿黛爾·布洛赫-鮑爾肖像一號(hào)》的正是該館創(chuàng)始人、藝術(shù)收藏家羅納德·勞德（Ronald Lauder）——世界知名化妝品品牌雅詩(shī)蘭黛創(chuàng)始人的小兒子，雅詩(shī)蘭黛集團(tuán)現(xiàn)任名譽(yù)董事長(zhǎng)，世界猶太人大會(huì)主席。