Charlemagne
86. A Belgian national champion
Jul 9th 2009 From The Economist print edition
A terrible lesson from a terrible painter
86-1-411
IN MARCH 1850 Antoine Wiertz, an artist, wrote to the newish Belgian government offering a swap: his largest paintings in exchange for the construction of a "huge, comfortable and well-lit" studio. Somewhat surprisingly, his proposal was accepted. The interior minister, Charles Rogier, agreed to hand over a large sum of money to build a studio that would, after Wiertz's death, display his works in perpetuity. Rogier's was a terrible decision even at the time. For today's governments, looking on 160 years later, it stands as a masterclass in maladministration.
Wiertz's timing was good: a mere 20 years after a revolution against Dutch rule had brought Belgium into being, the young kingdom was in search of national champions. His vast paintings earned the accolade of "giant" when shown in Rome and caused a sensation in Brussels, Antwerp and Ghent (though Parisian critics were less kind). It was reported that the violence of his Homeric battle scenes left children wailing in fear. His "Two Young Ladies"a naked beauty contemplating a skeletonteetered just on the right side of smut for 19th-century tastes. Wiertz, who compared himself to Rubens, admitted that some accused him of excessive pride. This was unfair, he assured the minister. "To judge a painter, you have to wait at least two centuries."
A. ¾îÈÖ
artist Ȱ¡. swap ¹°¹°±³È¯. well-lit Á¶¸íÀÌ ÁÁÀº. interior minister ³»¹«ºÎÀå°ü.
perpetuity çµÎù(¿µ±¸), ºÒ¸ê, çµáÙ(¿µ¼Ó). Rogiers =Rogiers decision.
looking on =when we look on. masterclass Ư±Þ.
maladministration ã÷ïÙ(½ÇÁ¤), Àß ¸øµÈ ó¸®.
brought Belgium into being º§±â¿¡¸¦ ź»ý½ÃÄ×´Ù. vast ¸·´ëÇÑ, °Å´ëÇÑ.
accolade íÉêÈâ£æ¨(ÀÛÀ§¼ö¿©), ¸í¿¹, ǥâ. Homeric È£¸Ó(Homer)ù¦(dz)ÀÇ.
Homeric battle °í´ë È£¸Ó½Ã´ëÀÇ ÀÜÀÎÇÑ ÀüÅõ. wail ¿ïºÎ¢´Ù.
a naked beauty Ñßãó(³ª½Å)ÀÇ ¹ÌÀÎ. cf. beauty=Ú¸(Ãß»ó¸í»ç), a beauty=Ú¸ìÑ(º¸Åë¸í»ç).
contemplate ëêãÊ(ÀÀ½Ã)ÇÏ´Ù. skeleton ÇØ°ñ.
teeter Æ÷Á ÃëÇÏ´Ù. Èçµé¸®´Ù, ¾Æ·¡À§(¾ÕµÚ)·Î Èçµé´Ù.
smut ´õ·¯¿î ¿©ÀÚ(°¥º¸), °Ë´ó, ´õ·¯¿ò, ëâÓÈø§àã(À½´ãÆÐ¼³).
accused him of ...¿¡ ´ëÇØ¼ ±×¸¦ ºñ³ÇÏ¿´´Ù. excessive °úµµÇÑ.
unfair °øÁ¤ÇÏÁö ¸øÇÑ.
B. ±¸¹®
-"Two Young Ladies". . . side of smut for 19th-century tastes.
[¡°µÎ ¸íÀÇ ÀþÀº ¼÷³à¡±ÇذñÀ» ÀÀ½ÃÇϰí ÀÖ´Â Ñßãó(³ª½Å)ÀÇ ¹ÌÀÎ19¼¼±âÀû ö¬ú¾(ÃëÇâ)À» ³ªÅ¸³»±â À§ÇÑ µí ´õ·¯¿î ¿©ÀÎÀÇ ¿À¸¥ ÂÊ¿¡ Æ÷Á ÃëÇÏµí ¿òÁ÷À̰í ÀÖ¾ú´Ù]
86-2-412
For a while, posterity's judgment was kind. In 1927, six decades after his death, his studio received 46,000 visitors. Belgian art-lovers thrilled to the melodrama of "Premature Burial", in which an anguished figure peeps out from a in which he is trapped. They relished the social commentary of "Hunger, Madness and Crime", depicting a destitute peasant waving a bloody knife as the leg of her murdered infant peeps from a cooking pot. Nor was patriotism forgotten. In "Ravishing of a Belgian woman", Wiertz breaks with convention by equipping his heroine with a pistol (although not with any clothes). She duly shoots the soldier molesting her, causing his head to explode, an event Wiertz depicts in gory detail.
Alas, modern audiences have proved less tolerant of such cod-Gothic nonsense. In recent years the Wiertz Museum has attracted an average of just ten visitors a day, many of them dragooned in school parties (the museum is currently closed for a few months, while its roof is replaced). The curator, Brita Velghe, concedes that Wiertz is "no Rubens", but defends the museum as a rare example of a 19th-century studio, with a unique history. Ms Velghe adds that Wiertz might flourish today as a performance artist (he once turned up in Paris with a 28 square-metre painting of the Trojan wars, demanding that it be displayed in a tent outside the Louvre).
A. ¾îÈÖ
posterity ýá¦(Èļ¼), ÀÚ¼Õ. premature ³Ê¹« À̸¥, ãÁÑ¦ßÆðÄ(½Ã±â»óÁ¶)ÀÇ.
burial ØØí÷(¸ÅÀå). anguished figure ±«·Î¿öÇÏ´Â, ºñÅëÇÑ. figure ±×¸²-Á¶°¢ÀÇ Àι°.
peeps out ¹ÛÀ» ³»´Ù º¸´Ù. coffin β(°ü). trap µ£¿¡ °É¸®´Ù.
relish ßÛÚ«(»ó¹Ì)ÇÏ´Ù, Áñ±â´Ù, ÁÁ¾ÆÇÏ´Ù commentary ñÉà·(ÁÖ¼®), ¼³¸í, ºñÆò.
depict ¹¦»çÇÏ´Ù. destitute п޸(±Øºó)ÀÇ. peasant ³ó¹Î, ¼ÒÀÛ³ó. infant êáä®(À¯¾Æ).
pot ³¿ºñ, Ç׾Ƹ®. patriotism ¾Ö±¹½É. ravish °°£ÇÏ´Ù, ȲȦÇÏ´Ù.
convention ÀüÅë, °ü½À. equip Àåºñ¸¦ °®Ãß°Ô ÇÏ´Ù. duly Á¤´çÇϰÔ, ÀûÀýÇϰÔ.
molest ¿©ÀÚ¸¦ Èñ·ÕÇÏ´Ù, ±«·ÓÈ÷´Ù. gory ÇÇÅõ¼ºÀÌÀÇ, íÑùË(ÀÜÇÐ)ÇÑ.
tolerant of ¿ëÀÎÇÏ´Â, °ü´ëÇÑ. cod ¼ÓÀÌ´Â, ³î¸®´Â, ÓÞÏ¢(´ë±¸).
Gothic °íµñ½ÄÀÇ(Áß¼¼¸¦ ¹è°æÀ¸·Î ÇÑ °øÆ÷-±«±â-½ÅºñÀÇ È¿°ú¸¦ ³ë¸°´Ù), ¾ß¸¸½º·¯¿î.
cod-Gothic Å͹«´Ï¾øÀÌ ¾ß¸¸½º·¯¿î. dragoon °Á¦·Î µ¿¿øÇÏ´Ù, ¾Ð¹ÚÇÏ´Ù.
currently ÇöÀç¿¡´Â. concede ½ÃÀÎÇÏ´Ù. unique À¯ÀÏÇÑ, À¯·Ê°¡ ¾ø´Â, òÒÏþ(Áø±Í)ÇÑ.
flourish ¹øÃ¢ÇÏ´Ù.
B. ±¸¹®
- many of them dragooned¡æand many of them were dragooned
¡æmany of them being dragooned
ÇÑ´«¿¡ º¸´Â
º£½ºÆ® ±â»ç
- 1 »çÇü ±¸Çü ¹ÞÀº À±¼®¿Àº ¿©ÀüÈ÷ À§ÇèÀι°ÀÌ´Ù!
- 2 ´ëÅë·ÉÀÇ ¾î·Ï(åÞÖâ)¿¡ ´ëÇÏ¿©
- 3 ¹ÚÁ¤Èñ´Â ±è¿µ»ï ¡°è·Î, À±¼®¿Àº ÀÌÁؼ® ¡°è·Î ¸ÁÇß´Ù!
- 4 óÀÚ½ÄÀÌ µè´Â µ¥¼ »çÇüÀ» ¸»ÇÏ´Ù´Ï
- 5 ´É·Âµµ ¾ø°í ¼º°úµµ ¸ø³»´Â °æÁ¦ÆÀ
- 6 ùÛÔÔý³, ¹Ì·Ã µÎÁö ¸»°í ÷ÓÚÇØ¼ »õ ±æ ¿¶ó
- 7 ±ØÁÂ¿Í ±Ø¿ì: °ø»êÁÖÀÇ¿Í ºÎÁ¤¼±°ÅÀ½¸ð·ÐÀÇ °øÅëÁ¡
- 8 ³ª¶ó ¸ÁÄ¡´Â ¡®¹ý²Ù¶óÁö¡¯ À±¼®¿¡¤Çѵ¿ÈÆ¡¤À嵿Çõ
- 9 °¡Àå ¸Ó¸® ÁÁÀº Çѱ¹ÀÎ 1000¸¸ ¸í ÀÌ»óÀ» ¹Ùº¸·Î ¸¸µç À±¼®¿!
- 10 °Å±â¿¡ 'Àç´Ü ÀÌ»çÀå'ÀÌ ¿Ö ³ª¿È?












