86-3-413
When Wiertz died in 1865, few seemed to imagine that his estate might one day become a burden. Public opinion, politicians and the press called him a Belgian hero of the arts, to be ranked alongside such figures as Gustave Wappers, a painter of patriotic and historical works. Today, it takes some rummaging in an art dictionary to find a trace of either man. Tastes change. But the difference between the two Belgian artists is instructive. Wappers achieved material success in his lifetime: he was made a baron and painter to the king. But his physical legacy is not overwhelming. His most famous work, a large and busy depiction of the 1830 revolution, still hangs in Brussels's Royal Fine Arts museum. Few visitors have a clue what it represents, or linger long to study its confused jumble of wounded patriots, pike-wielding peasants and Belgian flags.
In contrast, Wiertz died poor, but the Belgian state is legally stuck with all 220 of his worksdreadful though most of them areand an obligation to display them forever. In 1866, when Belgiums parliament gratefully accepted Wiertz's estate, it bowed to the artist's strict conditions that his paintings should never be moved, loaned or placed in storage, but should remain "invariably fixed" to the walls of the studio Belgium had built for him.
A. ¾îÈÖ
estate íÀß§(ÀÚ»ê). burden ºÎ´ã, Áü. the press ¾ð·Ð.
patriotic and historical works ¾Ö±¹ÀûÀÌ°í ¿ª»çÀûÀÎ ÀÛǰ.
rummage »ô»ôÀÌ Ã£¾Æ µÚÁö´Ù. trace ÈçÀû, ÀÚÃë. instructive ±³À°ÀûÀÎ, ±³ÈÆÀûÀÎ.
a baron and painter to the king ÑûíÉ(³²ÀÛ)°â ±¹¿ÕÀü¼ÓȰ¡.
physical ¹°ÁúÀûÀÎ(±¸Ã¼ÀûÀÎ), ½ÅüÀûÀÎ. legacy ë¶ß§(À¯»ê). depiction ¹¦»ç.
Royal Fine Arts museum ¿Õ¸³ ¹Ì¼ú¹Ú¹°°ü. have a clue ÀÌÇØÇÏ´Ù.
linger ¶°³ª±â¸¦ ¸Á¼³ÀÌ´Ù, ²Ù¹°°Å¸®´Ù. confused È¥¶õÇÑ, ³ÀâÇÑ. jumble µÚ¹ü¹÷.
patriot ¾Ö±¹ÀÚ. pike-wielding ¹Ì´ÃâÀ» Èֵθ£´Â. legally ¹ý·üÀûÀ¸·Î
stick-stuck-stuck ²Ä¦¸øÇÏ°Ô ºÙµé·Á ÀÖ´Ù, °íÂø½ÃŰ´Ù. dreadful ¸÷½Ã ºÒÄèÇÑ, ¹«¼¿î.
obligation Àǹ«. parliament ÀÇȸ. gratefully °¨»çÇϸç, Áñ°Ì°Ô. loan Óèæ¨(´ë¿©)ÇÏ´Ù.
storage ÀúÀå. invariably ºÒº¯ÇϰÔ.
B. ±¸¹®
- the Belgian state is legally . . . an obligation to display them forever.
[º§±â¿¡Á¤ºÎ´Â Wiertz ÀÇ ¸ðµç ÀÛǰ(220Á¡)ÀÛǰÀÇ ÁúÀº ´ëºÎºÐ ÇüÆí¾øÁö¸¸¹ý·üÀûÀ¸·Î ²Ä¦¾øÀÌ ºÙµé·Á ÀÖ°í ±× ÀÛǰµéÀ» ¿µ¿øÈ÷ Àü½ÃÇØ¾ß µÇ´Â Àǹ«¿¡µµ ¹ý·üÀûÀ¸·Î ²Ä¦¾øÀÌ ºÙµé·Á ÀÖ´Ù.]
86-4-414
Chimerical champions
The curious tale of Antoine Wiertz, perhaps the worst painter to have a government-funded museum all to himself, at least in the free world, holds several lessons for modern-day politicians. Those lessons are especially relevant right now, as politicians pour billions into firms buffeted by the recession.
For a start, national champions are not always as durable as they appear, even when politicians, press and public are all clamouring for an institution to be rescued with copious state aid. People are bad at second-guessing posterity. Indeed, those who sound most convincing about the future are often merely describing present-day trends, or else they are just articulate lobbyists for today's success stories.
Also, once the state displaces the market and takes responsibility for a commercial enterprise, whether a bank, a carmaker or a struggling painter with a gift for the gab, it can be surprisingly hard for it to back out again. And one should always beware of appeals to chauvinism and local pride. After a hostile reception by critics at the Paris salon of 1839, Wiertz published a furious call for Brussels to "rise up" and become "capital of Europe", leaving Paris a mere "provincial" town. He was promptly awarded a medal by the Brussels authorities.
Wiertz was not always wrong about posterity. When he wrote to the government to ask for funds to build his studio in what was then an obscure suburb, he predicted that the area would one day become "the centre of an immense and rich population". His museum now lies just 20 metres from the gleaming steel-and-glass towers of the European Parliament in Brussels (postal address: Rue Wiertz). When the parliament's members next pontificate about the need for state intervention, they should pop next door to Wiertz's studio, and have a ponder.
A. ¾îÈÖ
chimerical »ó»óÀÇ, °¡°øÀÇ, ȯ»óÀÇ.
government-funded museum Á¤ºÎÀÇ ±â±ÝÀ¸·Î ¼³¸³µÈ ¹Ú¹°°ü. lesson ±³ÈÆ.
relevant ´ç¸éÇÑ »çȸ¹®Á¦³ª »ýȰ°ú °ü·ÃÀÌ ÀÖ´Â, ÀûÀýÇÑ. pour ½ñ¾Æ ºÑ´Ù.
firm ȸ»ç. buffet ÁÖ¸ÔÀ¸·Î Ä¡´Ù, ¸ø»ì°Ô ±¼´Ù. recession °æÁ¦ºÒȲ.
for a start Á¦ÀÏ ¸ÕÀú, ¿ì¼±. durable Ò±ÎùÕô(³»±¸·Â)ÀÌ ÀÖ´Â.
press and public ¾ð·Ð°ú ´ëÁß. clamour Àý±ÔÇÏ´Ù, ¶°µé´Ù.
institution °ø°ø°Ç¹°, ¼³¸³, Á¦Á¤, Á¦µµ, ÇÐȸ. rescue ±¸Á¶ÇÏ´Ù.
copious ´ë·®ÀÇ. be bad at ¼Åø´Ù. second-guess °íÃÄ »ý°¢ÇÏ´Ù, î¢ÍÅ(Àç°í)ÇÏ´Ù.
posterity ýáÝ(ÈļÕ). sound µé¸®´Ù. convincing ³³µæÀÌ °¡´Â, ¼³µæ·ÂÀÌ ÀÖ´Â.
articulate ¸í·áÇÑ, ìµÖØ(ÀÌ·Î) ïÚæÔ(Á¤¿¬)ÇÑ. displace ´ë½Å µé¾î¼´Ù, ±³Ã¼ÇÏ´Ù.
enterprise ±â¾÷, »ç¾÷. gift Àç´É. gab À¯Ã¢ÇÑ º¯¼³, Àâ´ã, ¼ö´Ù.
painter with a gift for the gab À¯Ã¢ÇÑ º¯¼³¿¡ ´ëÇÑ Àç´ÉÀ» °¡Áø Ȱ¡.
back out ¼ÕÀ» ¶¼´Ù, Åð°¢ÇÏ´Ù. beware of ÁÖÀÇÇÏ´Ù. appeal °£Ã», ¾Ö¿ø, È£¼Ò.
chauvinism ¿±¤Àû ¾Ö±¹ÁÖÀÇ, ¸Í½Å, ¹èŸÁÖÀÇ. hostile îØÓßîÜ(Àû´ëÀû)ÀÎ.
critics ºñÆò°¡. publish ¹ßÇ¥ÇÏ´Ù, ¹ßÇàÇÏ´Ù. furious °Ý³ëÇÑ, ÎÊøÛ(±¤Æ÷)ÇÑ.
provincial Áö¹æÀÇ. promptly Áï¼®¿¡, ½Å¼ÓÇϰÔ. Brussels º§±â¿¡ ¼öµµ.
the Brussels authorities º§±â¿¡ Á¤ºÎ´ç±¹. obscure Ûøõ½(º®ÃÌ)ÀÇ, ´«¿¡ ¶çÁö¾Ê´Â, Èñ¹ÌÇÑ.
immense °Å´ëÇÑ, ±¤´ëÇÑ. gleaming ¹øµæÀÌ´Â, ºû³ª´Â. tower °íÃþ°Ç¹°.
postal address ¿ìÆíÁÖ¼Ò. pontificate ÁýÇàÇÏ´Ù, ÁÖ±³ÀÇ Á÷¹«(¹Ì»ç)¸¦ ÁýÇàÇÏ´Ù.
intervention Ë¿ìý(°³ÀÔ). pop ºÒ¾¦ µé¾î°¡´Ù(³ª°¡´Ù), °©Àڱ⠿òÁ÷ÀÌ´Ù.
have a ponder ±íÀÌ »ý°¢ÇÏ´Ù.
B. ±¸¹®
- People are bad at second-guessing posterity.
[´ç´ëÀÇ »ç¶÷µéÀº ÈÄ´ëÀÇ »ç¶÷µéÀÌ »ý°¢ÀÌ ¹Ù²ï´Ù´Â °ÍÀ» Àß ÀνÄÇÏÁö ¸øÇÑ´Ù.]
- Wiertz published a furious . . . become capital of Europe
[ Wiertz´Â Brussels (º§±â¿¡»ç¶÷µé)ÀÌ ºÀ±âÇÏ¿© À¯·´ÀÇ ¼öµµ°¡ µÉ °ÍÀ» Ã˱¸ÇÏ´Â ºÐ³ë¿¡ Âù ¼º¸í¼¸¦ ¹ßÇ¥ÇÏ¿´´Ù.]
- they should pop next door to Wiertzs studio, and have a ponder.
[±×µéÀº Wiertz ±â³ä°ü ½ºÆ©µð¿À °¡±îÀÌ·Î ³ª¿Í¼ ±íÀÌ »ý°¢ÇØ¾ß ÇÒ °ÍÀÌ´Ù.]
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