Today’s Painting
今日畫作
To commemorate the recent Exposition Universelle (The third Paris World's Fair), itself a celebration of luxury and prosperity, the French government declared a national holiday on 30 June 1878 . The holiday, called the Fête de la Paix (Celebration of Peace), also marked France's recovery from the disastrous Franco-Prussian War of 1870–1871 and the bloody, divisive Paris Commune that followed.
為紀念最近舉辦的第三屆巴黎世界博覽會（本身是為了慶祝奢華和繁榮），法國政府在1878年6月30日宣佈這一天為國定假日。這個假期稱為“和平紀念日”，也標誌著法國已經從1870年至1871年災難性的普法戰爭和隨後血腥分裂的巴黎公社運動中恢復過來。
From his second-floor window, Édouard Manet captured the holiday afternoon with his most precise, staccato brushwork in a patriotic harmony of the reds, whites, and blues of the French flag that waves from the new buildings' windows. The urban street was a principal subject of Impressionist and Modernist painting; many artists aimed to show not only the transformation and growth of the Industrial Age but how it also affected society. Manet's eyes saw both elegant passengers in hansom cabs and, in the foreground, a worker carrying a ladder. The hunched amputee on crutches, perhaps a war veteran or beggar, passes by fenced-in debris left from the construction of a new train track.
愛德華·馬奈特從他二樓的窗戶上，用最精確又斷斷續續的筆觸捕捉了這個假期的下午，新建房屋的窗戶上揮舞著紅色，白色和藍色的法國國旗，表現出愛國主義的和諧氣氛。城市街道是印象派和現代主義繪畫的主要主題。許多藝術家不僅想要展示工業時代的變遷和成長，還想展示出它如何影響社會的。馬奈特的目光既投向了雙輪雙座馬車中優雅的乘客，又看到了畫作前景中抬著梯子的工人。這個工人被截肢了，拄著柺杖弓著背，也許是退伍軍人或乞丐，從新建火車軌道旁的廢棄物邊走過。
Artist Introduction
畫家簡介
Édouard Manet was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.
愛德華·馬奈特是一位法國畫家。他是19世紀最早描畫現代生活的藝術家之一，也是從現實主義到印象派過渡的關鍵人物。
His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.
他的早期傑作《草地午餐》和《奧林匹亞》都創作於1863年，引起了巨大爭議，併成為年輕畫家創造印象派的聚集點。如今，這兩幅畫被視為標誌著現代藝術起源的分水嶺。
After the death of his father in 1862, Manet married Suzanne Leenhoff in 1863. Leenhoff was a Dutch-born piano teacher of Manet's age with whom he had been romantically involved for approximately ten years. Leenhoff initially had been employed by Manet's father, Auguste, to teach Manet and his younger brother piano. She also may have been Auguste's mistress. In 1852, Leenhoff gave birth, out of wedlock, to a son, Leon Koella Leenhoff.
馬奈特的父親於1862年去世，之後他1863年與蘇珊娜·萊恩霍夫結婚。萊恩霍夫在荷蘭出生，與馬奈特同齡，並是他的鋼琴老師。兩人戀愛了大約十年。萊恩霍夫最初受馬奈特的父親奧古斯特的聘用，教馬奈特和他的弟弟鋼琴。她也可能是奧古斯特的情婦。1852年，萊恩霍夫非婚生下一個兒子利昂·科埃拉·萊恩霍夫。
Eleven-year-old Leon Leenhoff, whose father may have been either of the Manets, posed often for Manet. Most famously, he is the subject of the Boy Carrying a Sword of 1861 (Metropolitan Museum of Art, New York). He also appears as the boy carrying a tray in the background of The Balcony.
十一歲的利昂·萊恩霍夫的父親可能也來自馬奈特家，他經常擺姿勢給馬奈特繪畫。最著名的畫作便是1861年創作的《攜帶劍的男孩》（現存於紐約的大都會藝術博物館）。在《陽臺》這幅畫中，他可能是背景裡端著托盤的男孩.
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