Today’s Painting
今日畫作
In a Roman Osteria is an intensified version of a painting by one of Bloch’s major predecessors, Wilhelm Marstrand (1810-1873); specifically his charming Italian Osteria Scene from 1848 (Ny Carlsberg Glyptotek).
《羅馬酒館》是布洛赫主要前輩之一威廉·馬斯特蘭德（1810-1873年）畫作的加強版，特別是布洛赫所描繪的1848年後充滿魅力的意大利酒館場景（珍藏於新嘉士伯藝術博物館）。
It is one of Bloch’s most popular genrepictures and is typical of his seductiveability to depict objects, details, and clothes with striking realism.
這幅畫作是布洛赫最受歡迎的流派畫作之一，畫中他以高超的能力與驚人的真實感描繪了對象、細節和衣服，這些正是他的典型特徵。
As is often the case in Bloch’s work, knives and forks are brandished rather freely. Note in particular how the phallicdecanterto the left may be close to an inviting mouth with slightly parted lips, but is equally – and unpleasantly – close to a knife and a fork with only two large prongsconsiderably more pointy than those of the young man’s fork.
這幅畫延續了布洛赫的一貫作風：刀叉很隨意地揮舞著。特別要注意的是，左側狀似男性生殖器的玻璃水瓶看似靠近略微張開的誘人嘴唇，卻也同樣令人不快地靠近只有兩個大尖齒的刀子和叉子，這些尖齒可比年輕男人的叉子尖銳得多。
Artist Introduction
畫家簡介
He was born in Copenhagen, Denmark and studied there at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) under Wilhelm Marstrand . Bloch's parents wanted their son to enter a respectable profession - an officer in the Navy. This, however, was not what Carl wanted. His only interest was drawing and painting, and he was consumed by the idea of becoming an artist.
布洛赫出生于丹麥的哥本哈根，在威廉·馬斯特蘭德（Wilhelm Marstrand）的指導下於丹麥皇家藝術學院學習。布洛赫的父母希望兒子從事受人尊敬的職業，如海軍軍官。但是，這不是布洛赫想要的。他唯一的興趣是繪畫，滿心只想成為一位畫家。
He went to Italy to study art, passing through the Netherlands, where he became acquainted with the work of Rembrandt, which became a major influence on him. Carl Bloch met his wife, Alma Trepka, in Rome, where he married her on 31 May 1868. They were happily married until her early death in 1886.
他去了意大利學習藝術，途經荷蘭，在那裡他熟悉了倫勃朗的作品，這對他產生了重大影響。卡爾·布洛赫在羅馬遇見了他的妻子阿爾瑪·特雷普卡，1868年5月31日兩人在羅馬結婚。他們的婚姻很幸福，直到1886年她早逝。
His early work featured rural scenes from everyday life. From 1859 to 1866, Bloch lived in Italy, and this period was important for the development of his historical style.
他的早期作品以日常生活中的鄉村景色為特色。從1859年到1866年，布洛赫居住在意大利，這一時期對於他歷史風格的發展很重要。
His first great success was the exhibition of his "Prometheus Unbound" in Copenhagen in 1865. After the death of Marstrand, he finished the decoration of the ceremonial hall at the University of Copenhagen. The sorrow over losing his wife weighed heavily on Bloch, and being left alone with their eight children after her death was very difficult for him.
1865年他在哥本哈根展出了作品《無拘無束的普羅米修斯》，這是他第一次獲得成功。馬斯特蘭德死後，他完成了對哥本哈根大學禮堂的裝飾。失去妻子的悲傷讓布洛赫不堪重負，獨自養育他們的八個孩子也讓他過得十分艱難。
In a New Year's letter from 1866 to Bloch, H. C. Andersen wrote the following: "What God has arched on solid rock will not be swept away!" Another letter from Andersen declared "Through your art you add a new step to your Jacob-ladder into immortality."
1866年，安德森在給布洛赫的新年致辭中寫道：“上帝在堅固的岩石上所建起的拱門，絕不會消失！”安徒生在另一封信中又說道：“您通過您的藝術，為通往永生的雅各的天梯鋪墊了一個新臺階。”
In a final ode, from a famous author to a famous artist, H.C. Andersen said "Write on the canvas; write your seal on immortality. Then you will become noble here on earth."
在最後的頌詩中，安徒生這位著名的作家對布洛赫這位著名的畫家說道：“在畫布上提筆；在不朽上封印。然後你將成為世間貴族。”
注：
Jacob's ladder——雅各的天梯：
典出《舊約.創世紀》第28章10－19節。
雅各出了別是巴，向哈蘭走去。到了一個地方，因為太陽落了，就在那裡住宿，便拾起那地方的一塊石頭枕在頭下，在那裡躺臥了。他夢見一個梯子立在地上，梯子的頭頂著天，有神的使者在梯子上，上去下來。耶和華站在梯子以上，說：“我是耶和華，是亞伯拉罕的神，也是以撒的神，我要將你現在所躺臥之地賜給你和你的後裔。你的後裔必像地上的塵沙那樣多，必向東西南北開展，地上萬族必因你和你的後裔得福。我也與你同在，你無論往哪裡去，我必保佑你，領你歸回這地，總不離棄你，直到我成全了向你所應許的。”雅各睡醒了，說：“耶和華真在這裡！我竟不知道。”就懼怕說：“這地方何等可畏！這不是別的，乃是神的殿，也是天的門。”
此典又稱“天梯”。喻指通向神聖和幸福的途徑。
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