【Paintings in Proust】 Lost Illusions (Le Soir), Charles Gleyre, 1843 (p.45)

Charles Gleyre 是幾位印象派大師的老師，他的學生包含莫內、雷諾瓦、希斯里、惠斯勒…一群同儕在 Charles Gleyre 的畫室學習並相互砥礪，特別是一同出遊作畫，這種相濡以沫、互惠互助的生活共同體，其實也是我對於印象派相當重要的美好印象之一。
這幅畫作是 Charles Gleyre 與他的學生 Leon Dussart 接力合作完成的作品，主要描繪的是 Charles Gleyre 在尼羅河畔經歷的一個夜晚。




【TEXT】
Sometimes in the afternoon sky a white moon would creep up like a little cloud, furtive, without display, suggesting an actress who does not have to ‘come on’ for a while, and so goes ‘in front’ in her ordinary clothes to watch the rest of the company for a moment, but keeps in the background, not wishing to attract attention to herself. I was glad to find her image reproduced in books and paintings, though these works of art were very different—at least in my earlier years, before Bloch had attuned my eyes and mind to more subtle harmonies—from those in which the moon seems fair to me to-day, but in which I should not have recognised her then. It might be, for instance, some novel by Saintine, some landscape by Gleyre, in which she is cut out sharply against the sky, in the form of a silver sickle, some work as unsophisticated and as incomplete as were, at that date, my own impressions, and which it enraged my grandmother’s sisters to see me admire. (Swann's Way)

有時，下午的天空中出現蒼白的月亮，像一朵白雲在悄悄地運行，沒有光澤，好比沒有登臺的女演員，穿著平時的服裝，不事聲張地悄悄坐在劇場裡看看同行的演出，但願不引人注意。我喜歡在畫上、在書中見到月亮的形象，但是當年我所欣賞的那些藝術作品，與今天我覺得把月亮描繪得很美、甚至都認不出那是月亮的藝術作品，有多大的不同呀——至少在早年，在布洛克打開我的眼界，使我的思維更傾向於纖細的和諧之前是這樣的。那些作品，例如森蒂納的某部小說，格賴爾的某幅風景畫，把月亮描繪成清晰地懸掛在天空的一彎銀鐮，諸如此類的作品同我自己心目中的印象一樣地稚拙粗俗，我外祖母的兩位妹妹見到我喜歡這類作品就很生氣。
(p.160 追憶似水年華 I 在斯萬家那邊 聯經版 1992)