Today’s Painting
今日畫作
Recently the National museum in Stockholm acquired two physiognomicself-portraits painted by the French artist, Joseph Ducreux, one of the foremost artists at the court of Louis XVI. Ducreux’s portraiture exhibits strong influences of naturalism and is characterized by the artist’s ability to capture a specific facial expression or emotional state.
最近，斯德哥爾摩的國家博物館獲得了由法國藝術家約瑟夫·杜克雷克斯繪製的兩幅相貌自畫像。約瑟夫·杜克雷克斯作為路易十六宮廷裡最重要的藝術家之一，其肖像畫表現出強烈的自然主義影響力，其特色在於藝術家有能力捕捉到特定的面部表情或情緒狀態。
Because of this closeness to the royal family, and more particularly, Queen Marie Antoinette, in 1789 Ducreux found himself in a periloussituation in the years immediately following the start of the French Revolution.
因為親近王室，特別是親近瑪麗·安託瓦內特王后，所以在1789年杜克雷克斯發現，自己自法國大革命開始乃至之後的幾年中陷入了危險的境地。
He therefore took up residence in London for a period sometime in 1791. There are few facts about Ducreux’s activities during this brief period, but we do know that he exhibited portraits and self-portraits at the Royal Academy of Arts, including two that were called Surprise mixte with Terror and (more simply)Surprise.
因此，在1791年他去倫敦居住了一段時間。在這段短暫的時期內，關於杜克雷克斯的活動鮮為人知，但我們確實知道他在皇家藝術學院展出肖像和自畫像，其中包括兩幅被稱為《驚奇交織恐怖》和（更簡單的標題）《驚奇》。
Most likely, one of the portraits that the National museum has now acquired was a later version of the first of these two works that had been exhibited in London. The facial expression of the artist is permeatedwith exaggerated surprise mixed with terror, as shown in his large eyes, gaping mouth, and dramatically extended right hand.
國家博物館現在收藏的肖像很有可能就是當年在倫敦展出的這兩幅作品中第一幅的更新版本。藝術家的面部表情充滿了誇張的驚奇和恐懼，從他睜大的眼睛，張開的嘴巴和戲劇化伸展的右手中，我們都可以發現。
There is no doubt that these works are self-portraits, but their titles, which describe emotions, show that they were also intended to focus on physiognomy as aphenomenonin itself.
毫無疑問，這些作品都是自畫像，但是作品的標題都在描述情感，這些表明作品還意在把相貌本身作為一種特點來強調。
Ducreux’s interest in physiognomy reflects his time and can more generally be indicative of the favorite scientific theme of the Enlightenment. By combining an expressly physiognomic perspective with a self-portrait, this work may well be viewed as having laid the foundation for new directions in portraiture.
杜克雷克斯對相貌的興趣反映了他所處的時代，並且可以更普遍地說明科學是啟蒙運動中最受歡迎的主題。通過結合自畫像從相貌視角清楚地進行表達，這幅作品也可以看作為畫像技法的新發展方向奠定了基礎。
Ducreux attempted to capture in himself the same facial expressions that we can see every day on people in general. It is perhaps not at all surprising that one of Ducreux’s self-portraits of this type has now become a popular onlinememe, which shows this artist’s timeless playfulness and desire to experiment.
杜克雷克斯試圖從自己身上捕捉我們每天在普通人身上看到的相同的面部表情。現在，杜克雷克斯的這種自畫像已經成為一種網絡潮流而受到歡迎，這一點也不足為奇，它表明該藝術家的頑皮和嘗試的慾望永不過時。
Artist Introduction
畫家簡介
Joseph, Baron Ducreux was a French noble, portrait painter, pastelist, miniaturist, and engraver, who was a successful portraitist at the court of Louis XVI of France, and resumed his career after the French Revolution.
約瑟夫·杜克魯克斯男爵既是法國貴族，又是肖像畫家，貼圖畫家，微型畫畫家和雕刻師，還是法國路易十六世宮廷裡一位成功的肖像畫家，並在法國大革命後恢復了職業生涯。
He was made a baron and premier peintre de la reine (First Painter to the Queen), and drew the last portrait ever made of Louis XVI before the king’s execution. His less formal portraits reflect his fascination with physiognomy and show an interest in expanding the range of facial expressions beyond those of official portraiture.
約瑟夫·杜克魯克斯被任命為男爵和premier peintre de la reine（女王的第一畫家），路易十六國王處死前留下的最後一幅肖像也是由他繪製而成。他不太正式的肖像反映了他對相貌的迷戀，並表明出他有興趣將面部表情的範圍擴展到官方肖像之外。
Ducreux specialized in portrait painting, and his early portraits were done in pastel, and include those done of the connoisseurs Pierre-Jean Mariette, the Comte de Caylus and Ange-Laurent de la Live de July. These works may have been copies after De La Tour.
杜克魯克斯專長於肖像畫，他早期的肖像畫用蠟筆畫成，包括給鑑賞家皮埃爾·讓·馬裡埃特和孔德·德·卡勒斯的肖像畫，以及《七月的昂熱·洛朗》。這些作品可能是《德拉魯之旅》之後的複製品。
From 1760 onward, Ducreux kept a list of his works, but throughout his lifetime, he rarely signed his paintings. Thus, many of his works remain erroneously attributed to other artists. Other portraits by Ducreux include those done of Pierre Choderlos de Laclos and Maria Theresa of Austria, as well as those mentioned above of Louis XVI and Marie Antoinette.
從1760年開始，杜克魯克斯保留了他的作品清單，但是在他的一生中，他很少為自己的畫作署名。因此，其許多作品仍然被錯誤地認為屬於其他藝術家。杜克魯克斯繪製的其他肖像還包括給皮埃爾·喬德洛斯·德拉克洛斯和奧地利的瑪麗亞·特雷莎的肖像，以及上面提到的為路易十六和瑪麗·安託瓦內特創作的肖像。
Ducreux also made several well-known self-portraits in the 1780s and 1790s, including one in which he painted himself in the middle of a large yawn. In another, "Portrait de l'artiste sous les traits d'un moqueur", the artist guffaws and points at the viewer.
杜克魯克斯在1780年代和1790年代還創作了幾幅著名的自畫像，其中有一幅他正在打著大大的哈欠。在另一幅《面帶嘲笑的藝術家肖像》中，藝術家狂笑著指向觀眾。
As evidenced by these self-portraits, Ducreux attempted to break free from the constraints of traditional portraiture. Interested in physiognomy, the belief that the study and judgment of a person's outer appearance, primarily the face, reflects their character or personality, he attempted to capture the personality of his subjects, as well as his own, through his warm and individualistic works.
這些自畫像證明，杜克魯克斯試圖擺脫傳統肖像畫的束縛。他對描繪相貌感興趣，認為研究和判斷一個人的外表（主要是面部），這能反映出他們的性格或個性，因此他試圖通過自己熱情而個性化的作品來捕捉繪畫對象以及他本人的個性。
"Le Discret" (ca. 1790), for example, is the portrait of a man asking for silence. His expression is timorous, his finger is pressed against his mouth in alarm as he silently demands discretion or prudence.
例如，《離散》（約1790年創作）是一個男人要求保持沉默的肖像。他的表情十分怯懦，他驚恐地用手指壓在嘴上，就像他無聲地要求謹慎或小心一樣。
In this, these portraits recall the tronies of Dutch Golden Age painting, and the "character heads" of his contemporary the Austrian sculptor Franz Xaver Messerschmidt (1736–1783), some of whose busts were self-portraits with extreme expressions.
這些肖像通過上述特點讓人想起荷蘭黃金時代的畫作，以及他同時代的奧地利雕塑家弗朗茲·澤維爾·梅瑟施密特（1736–1783）的“人物頭像”，他所創作的一些半身像便是是帶有極端表情的自畫像。
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