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| 2008/04/20 01:38:20瀏覽872｜回應0｜推薦6 | |
| 詹姆斯．恩索爾在他的代表作1888年基督降臨布魯塞爾中反映出他如何以貧窮階級的眼光觀看當時的社會。蘇珊．康寧將這幅畫中的促擁著耶穌的人群解讀成比利時當代的統治階級，而不是耶穌進入耶路撒冷時的人群。在這幅畫中，這群人帶著嘉年華式、古怪的面具。恩索爾的幽默即是讓觀看這幅畫的觀眾在畫中看見自己，但是是以畫家所繪的形象存在。
觀者可以從第二幅圖（畫家落款的角落）將這些奇怪的臉看的更清楚。
James Ensor’s The Entry of Christ into Brussels in 1888 explores his vision of the society in the eyes of the lower class. In Susan Canning’s interpretation, Ensor portraits himself as Christ in the center of the crowd, but the crowd is no longer the proletariat of The Entry of Jerusalem. It is a crowd masked with grotesque faces of the bourgeoisie, the clergy and the military, of whom consist of the ruling classes in Belgium.* The painter’s humor lies on the reflection that the contemporary audiences see themselves in those garish faces. The second image is the signature corner. The audiences can see the grotesque masks even better. *Susan Canning, Art in America, 2/1/2000. |
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