同一个女孩，不同的瞬间。
这是大都会博物馆特展《马奈与德加》的海报作品及展览网站封面作品。
图一，马奈作品《李子白兰地》。
图二，德加作品。《苦艾酒》
Plum Brandy
Edouard Manet (French, Paris 1832–1883 Paris)
Title: Plum Brandy
Artist: Edouard Manet (French, Paris 1832–1883 Paris)
Date: ca. 1877
Geography: Country of Origin France
Culture: French
Medium: Oil on canvas
Dimensions: 29 × 19 3/4 in. (73.6 × 50.2 cm)
Framed: 34 1/2 × 25 1/4 × 2 1/4 in. (87.6 × 64.1 × 5.7 cm)
Classification: Paintings
Credit Line: National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon (1971.85.1)
In a Café (The Absinthe Drinker)
Edgar Degas (French, Paris 1834–1917 Paris)
Title: In a Café (The Absinthe Drinker)
Artist: Edgar Degas (French, Paris 1834–1917 Paris)
Date: 1875–76
Geography: Country of Origin France
Culture: French
Medium: Oil on canvas
Dimensions: 36 1/4 × 26 15/16 in. (92 × 68.5 cm)
Framed: 45 7/8 × 36 7/16 in. (116.5 × 92.5 cm)
Classification: Paintings
Credit Line: Musée d'Orsay, Paris (RF 1984)
#大都会博物馆[超话]##马奈与德加#大都会博物馆[超话]#
图一，华盛顿国家美术馆说明
A woman with light skin sits facing us across a marble-topped table in a café in this vertical painting. Her body is angled slightly to our right, and she rests her right elbow, on our left, on the table. She leans her right cheek onto the back of her right hand as she gazes into the distance. She holds a cigarette in her other hand, which rests on the tabletop. Her pale pink dress has long sleeves with ruffles at the cuffs, and buttons down the front of the skirt can be seen under the table. A lace bow or ruffles cascade down at her neck. Straw-colored hair peeks out under a black hat encircled with a wide band of lace. A short, stemmed glass sitting on the table in front of her holds a small, round piece of fruit surrounded by caramel-colored liquid. The white marble tabletop is streaked with gray. The burgundy, patterned banquette she sits on takes up the bottom half of the composition, and wood paneling around a slate-gray metal grate fills the top half. Loose brushstrokes are visible throughout. The artist signed the work as if he had written his name on the surface of the table, near the front edge to our left, "Manet."
图2，奥赛博物馆说明——
Unlike his Impressionist friends, Degas was an essentially urban painter, who liked to paint the enclosed spaces of stage shows, leisure activities and pleasure spots.
In a cafe, a fashionable meeting place, a man and a woman, although sitting side-by-side, are locked in silent isolation, their eyes empty and sad, with drooping features and a general air of desolation. The painting can be seen as a denunciation of the dangers of absinthe, a violent, harmful liquor which was later prohibited. Parallels have been drawn with Zola's novel L'Assommoir written a few years later and indeed the novelist told the painter: "I quite plainly described some of your pictures in more than one place in my pages." The realistic dimension is flagrant: the cafe has been identified – it is "La Nouvelle Athènes", in place Pigalle, a meeting place for modern artists and a hotbed of intellectual bohemians. The framing gives the impression of a snapshot taken by an onlooker at a nearby table. But this impression is deceptive because, in fact, the real life effect is carefully contrived. The picture was painted in the studio and not in the cafe.
Degas asked people he knew to pose for the figures: Ellen André was an actress, and an artist's model; Marcellin Desboutin was an engraver and artist. The painting cast a slur on their reputations and Degas had to state publicly that they were not alcoholics.
The off-centre framing, introducing empty spaces and slicing off the man's pipe and hand, was inspired by Japanese prints, but Degas uses it here to produce a drunken slewing. The presence of the shadow of the two figures painted as a silhouette reflected in the long mirror behind them is also expressive and significant.
