奶油蛋卷The Brioche 爱德华·马奈（Edouard Manet）油画作品欣赏

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摘要

Manet reportedly called still life the “touchstone of the painter.” From 1862 to 1870 he executed several large-scale tabletop scenes of fish and fruit, of which this is the last and most elaborate. It was inspired by the donation to the Louvre of a painting of a brioche by Jean Siméon Chardin, the eighteenth-century French master of still life. Like Chardin, Manet surrounded the buttery bread with things to stimulate the senses—a brilliant white napkin, soft peaches, glistening plums, a polished knife, a bright red box—and, in traditional fashion, topped the brioche with a fragrant flower.

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Manet reportedly called still life the "touchstone of the painter." From 1862 to 1870 he executed several large-scale tabletop scenes of fish and fruit, of which this is the last and most elaborate. It was inspired by the donation to the Louvre of a painting of a brioche by Jean Siméon Chardin, the eighteenth-century French master of still life. Like Chardin, Manet surrounded the buttery bread with things to stimulate the senses—a brilliant white napkin, soft peaches, glistening plums, a polished knife, a bright red box—and, in traditional fashion, topped the brioche with a fragrant flower.

　　此画作于1870年，一个装饰着淡粉色玫瑰的大奶油蛋卷作为主要的静物的核心。周围安排着桃子、葡萄、一篮子李子、十八世纪中期的日本红盒子、一把带有银色镀金刀片和珍珠母手柄的钢刀，以及一个流苏白色餐巾纸，都散布在十八世纪的装饰镶嵌镀金桌上面。