Today’s Painting
今日畫作
“Draw your pleasure, paint your pleasure, and express your pleasure strongly” said Pierre Bonnard, the author of today’s painting.
“描繪你的快樂，渲染你的快樂，並竭力表達你的快樂，”今天這幅畫的作者皮耶·勃納爾（Pierre Bonnard）如是說。
Bonnard’s model forNude in the Bathwas Marthe de Méligny, formerly Maria Boursin (1869–1942), who was the artist’s companion from 1893 until her death.
勃納爾（Bonnard）《浴中的裸體》中的模特便是馬爾特·德·梅利尼（Marthe de Méligny），她之前稱為瑪麗亞·布辛（Maria Boursin，1869–1942年），從1893年起一直是勃納爾的伴侶，直到她去世。
The couple married in 1925, the year from which this painting dates. Bonnard painted Marthe over 300 times during the course of his career, and many of these images show her preparing for, immersed in, or emerging from the bath.
這對夫婦於1925年結婚，並於同年創造了這幅畫。勃納爾在其職業生涯中以馬爾特為模特創造了300多副畫作，其中許多畫作都顯示了她正在為浴缸做準備，浸入水中或從浴缸中出來的場景。
The motif of the bathing woman can be understood not only in terms of the artist’s fascination with Marthe as a subject, but in the context of her health, as she took frequent baths as part of the treatment for a tubercular condition.
理解沐浴者的主題，不僅要考慮勃納爾作為藝術家痴迷於把馬爾特當作繪畫對象，而且因為她是為了治療結核病才經常洗澡，所以我們理解該畫作還要結合她的健康狀況。
ThisNude in the Bathis the last of Bonnard's treatments of this subject; it is one of the great nudes of the twentieth century. The audacity of color that characterizes the artist's mature work is evident in this painting's dazzling mosaic of oranges, yellows, pinks, blues, violets, and greens.
這副《浴中的裸體》 是勃納爾最後一次描畫該主題；該畫作是20世紀最偉大的裸體人物之一。畫中大膽運用了橙色、黃色、粉色、藍色、紫色和綠色的組合，令人眼花繚亂目不暇接，從中可以看出畫家把握色彩的功力已經十分成熟。
The originality of Bonnard's chromatic daring is nearly equal in this painting by a pictorial construct in which perspective and volume are denied and forms are piled up to hover over the flat plane of the canvas. Bonnard transformed this domestic environment, with its comfortably curled-up family dachshund, into an exotic setting in which a young woman floats in a pearly tub, her flesh reflecting the opalescent colors that surround her. The result is a sensual, dreamlike, and private evocation.
在這幅畫中，勃納爾用色大膽，創意十足，繪畫構圖也毫不遜色。在繪畫構圖中，勃納爾放棄了透視圖和容積，選擇了層層堆積的形式，懸停在畫布的平面上。他結合舒適蜷縮的臘腸犬，將家庭環境轉變為充滿異國情調的背景下，而一位年輕女子漂浮在一個珍珠形狀的浴盆中，她的膚色泛著身邊乳白色的光，營造出一種既感性又夢幻的私密氛圍。
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