苗栗早班 約6點30。7~ELEVEN 約120
下午補睡眠 測全口假牙
Jean-Louis-Ernest Meissonier | |
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King, Ross (2006), The Judgment of Paris
The standard account of the rise of Impressionism describes Édouard Manet as a misunderstood pioneer whose noble struggles paved the way for Monet, Cézanne, Degas and others. King presents a somewhat different drama: his Manet, a yellow-gloved, upper-class dandy eager for attention, sought out controversial subjects to épater le bourgeois, and far from toiling away just for art's sake built himself an exhibition hall near the Pont de l'Alma, lined in red velvet, in hopes of selling big. He didn't, but he was a serious painter who had plenty of defenders among influential critics, even for shocking pictures like "Déjeuner sur l'Herbe," the famous canvas inspired by Titian (some say Giorgione) that depicts a naked woman having a picnic with two fully clothed men.
Manet is usually the hero of the story, but one can't help being charmed by King's other protagonist, Ernest Meissonier. Seventeen years older than Manet, Meissonier was by the 1860's the most famous and best-paid painter in France and perhaps the world, a former druggist's apprentice anointed by great figures like Delacroix. He was admired for his obsession with historical accuracy, and for the meticulous skill with which he painted details so fine they could be examined with a magnifying glass.
His most serious efforts went toward recreating scenes from Napoleon's famous battles, as in the canvas "Friedland," which King discusses at length. He would spend years on a picture, borrowing the very cloak a general had used, making elaborate wax models, even building a small railway on his estate so that he could sit in a moving rail car and sketch horses in motion. Meissonier's paintings sold for record prices up to the late 19th century, but his realistic detail and some of his folksier subjects weighed against him for most of the 20th century, when posterity embraced the more dashing effects of Impressionism and the forms of abstraction that were to come.
Marc Gotlieb, The plight of emulation: Ernest Meissonier and French salon painting (Princeton University Press, 1996)
Patricia Mainardi, The end of the Salon: art and the state in the early Third Republic (Cambridge; New York: Cambridge University Press, 1993)
https://en.wikipedia.org/wiki/Ernest_Meissonier
10月6日
黒岩 淚香（黒岩 周六）
（文久2.9.29—大正9.10.6∕西元1862.11.20—1920.10.6）
日本明治時代的報人與翻譯家。《萬朝報》創刊人，除揭發上層人物的醜聞，並親自編譯連載多部國外偵探和幻想小說，如《悲慘世界》與《鐵面人》等。之後也執筆創作，被稱為日本推理小說的鼻祖。
近來，各家報社宛如嚷嚷著「沒有情夫就做不下去啦」的賣身妓女，各擁情夫。……他們的情夫即是政府、是政黨、是野心之民間政治家、是財力之商界頭面人物。如果一般民眾，想透過這種報紙，得知真實存在的事實，或聽到公平的議論，那是絕對不可能的。幸或不幸，本社乃獨立孤高之報社。本社從不搭理那種政府、政黨，更不理有野心的政治家之流。哎！本社只站在正直的一方，只知曉需貫徹始終的道理。若是想聽聞偏頗言論、想觀看陰險歪邪的記事，請離開去讀其他報紙吧！
節自《萬朝報‧創刊辭》
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