Today’s Painting
今日画作
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.
为纪念最近举办的第三届巴黎世界博览会（本身是为了庆祝奢华和繁荣），法国政府在1878年6月30日宣布这一天为国定假日。这个假期称为“和平纪念日”，也标志着法国已经从1870年至1871年灾难性的普法战争和随后血腥分裂的巴黎公社运动中恢复过来。
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.
爱德华·马奈特从他二楼的窗户上，用最精确又断断续续的笔触捕捉了这个假期的下午，新建房屋的窗户上挥舞着红色，白色和蓝色的法国国旗，表现出爱国主义的和谐气氛。城市街道是印象派和现代主义绘画的主要主题。许多艺术家不仅想要展示工业时代的变迁和成长，还想展示出它如何影响社会的。马奈特的目光既投向了双轮双座马车中优雅的乘客，又看到了画作前景中抬着梯子的工人。这个工人被截肢了，拄着拐杖弓着背，也许是退伍军人或乞丐，从新建火车轨道旁的废弃物边走过。
Artist Introduction
画家简介
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.
爱德华·马奈特是一位法国画家。他是19世纪最早描画现代生活的艺术家之一，也是从现实主义到印象派过渡的关键人物。
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.
他的早期杰作《草地午餐》和《奥林匹亚》都创作于1863年，引起了巨大争议，并成为年轻画家创造印象派的聚集点。如今，这两幅画被视为标志着现代艺术起源的分水岭。
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.
马奈特的父亲于1862年去世，之后他1863年与苏珊娜·莱恩霍夫结婚。莱恩霍夫在荷兰出生，与马奈特同龄，并是他的钢琴老师。两人恋爱了大约十年。莱恩霍夫最初受马奈特的父亲奥古斯特的聘用，教马奈特和他的弟弟钢琴。她也可能是奥古斯特的情妇。1852年，莱恩霍夫非婚生下一个儿子利昂·科埃拉·莱恩霍夫。
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.
十一岁的利昂·莱恩霍夫的父亲可能也来自马奈特家，他经常摆姿势给马奈特绘画。最著名的画作便是1861年创作的《携带剑的男孩》（现存于纽约的大都会艺术博物馆）。在《阳台》这幅画中，他可能是背景里端着托盘的男孩.
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