Portrait of Adele Bloch-Bauer I《阿黛尔·布洛赫-鲍尔肖像一号》

埃米莉·斯诺/文　爱艺/译

Who was Adele Bloch-Bauer？

阿黛尔·布洛赫-鲍尔是谁？

In turn-of-the-century Vienna， wealthy Jewish socialite Ferdinand Bloch-Bauer commissioned Gustav Klimt to paint a portrait of his wife， Adele. Klimt was emerging at the forefront of the Vienna Secession movement—Austrias gilded contribution to international Art Nouveau.

在19和20世纪之交的维也纳，富有的社会名流、犹太人费迪南德·布洛赫-鲍尔委托古斯塔夫·克里姆特为妻子阿黛尔画一幅肖像。克里姆特是维也纳分离派运动冉冉升起的重要人物——奥地利的这一运动让国际“新艺术运动”更为光鲜亮丽。

Adele Bloch-Bauer was herself a figure to be reckoned with1 in the Vienna art scene. She frequently hosted a famous art salon， using her wealth and social status to support Austrian artists like Klimt.

阿黛爾·布洛赫-鲍尔本人是维也纳艺术圈的重要人物。她常常举办的艺术沙龙很有名气——利用自己的财富和社会地位支持克里姆特等奥地利画家。

Upon securing the Adele Bloch-Bauer portrait commission， Gustav Klimt embarked on a laborious painting process spanning four years. Hundreds of sketches and a few specially-made costumes later， Klimt unveiled the final version of Portrait of Adele Bloch-Bauer I in 1907.

收到为阿黛尔·布洛赫-鲍尔画像的委托后，古斯塔夫·克里姆特开始了为期4年的创作，耗时且费力。克里姆特绘制了数百幅草图，后来还特制了一些服饰，于1907年完成了终版《阿黛尔·布洛赫-鲍尔肖像一号》。

Woman in gold

金衣女子

Inspired by his visit to Ravennas Byzantine gold mosaics， Gustav Klimt was fully immersed in his so-called “Golden Phase” when he began painting Portrait of Adele Bloch-Bauer I. The aptly nicknamed Woman in Gold or Lady in Gold epitomizes the multifaceted aesthetic and extremely laborious process of Klimts “Golden Phase.”

古斯塔夫·克里姆特游历意大利拉韦纳时看到拜占庭金色马赛克壁画，深受启发，在动笔开始创作阿黛尔的这幅肖像时，他正处于其所谓“黄金时期”的全盛状态。这幅画有个恰如其分的别称《金衣女子》，整幅画集中体现了克里姆特“黄金时期”的多元审美和极端艰辛的创作过程。

Like most of Klimts portraits， Portrait of Adele Bloch-Bauer I features a realistically rendered human figure， immersed in a deliberately non-representational—and highly decorative—background. Close observation of Portrait of Adele Bloch-Bauer I reveals Klimts inclusion of delicate relief work and real gold leaf amidst the oil paint.

如同克里姆特的大多数肖像画一样，《阿黛尔·布洛赫-鲍尔肖像一号》中的人物形象是真实呈现的，完全融入特意营造的非写实且高度装饰性的背景中。仔细观察就会发现，克里姆特在这幅油画中加入了精细的浮雕和真正的金箔。

Adeles face， sensual and enigmatic， stands out from the composition. Her cheeks flush as she softly gazes towards the viewer. She is surrounded by a glittering collage of aesthetic references from Art Nouveaus long， curving lines to Ancient Egypts all-seeing eye2.

阿黛尔的面庞性感而神秘，在画中显得尤为突出。她脸颊红润，温柔地注视着观画者。包围着她的是一幅金光闪闪的拼贴，采用的艺术元素既有新艺术运动的长长曲线，也有古埃及的全视之眼。

Artist and muse： Adele Bloch-Bauer and Gustav Klimts relationship

画家和灵感源泉：阿黛尔·布洛赫-鲍尔和古斯塔夫·克里姆特的关系

After a brief public exhibition， which garnered mixed reviews， Gustav Klimts Portrait of Adele Bloch-Bauer I was displayed privately in the palatial Bloch-Bauer apartment in Vienna.

古斯塔夫·克里姆特的《阿黛尔·布洛赫-鲍尔肖像一号》曾短暂公开展览，评价褒贬不一，之后就由布洛赫-鲍尔收藏在了维也纳自家富丽堂皇的公寓里，只做私展。

Delighted with the strikingly modern painting， the Bloch-Bauers commissioned Klimt to create a second portrait of Adele. The resulting 1912 canvas demonstrates how Klimt abandoned his “Golden Phase” in favor of a vibrant color palette. The artists penchant for immaculately decorated details， however， remained intact.

布洛赫-鲍尔夫妇对这幅引人注目的现代画作很满意，于是委托克里姆特为阿黛尔画第二幅肖像。那幅1912年完成的肖像展示了克里姆特如何走出其“黄金时期”，转而采用鲜亮的色调。不过，克里姆特对完美装饰性细节的偏好依然如故。

On top of the two portrait commissions， Ferdinand and Adele Bloch-Bauer added several landscape paintings and drawings by Gustav Klimt to their collection of modern Austrian art. In fact， Adele Bloch-Bauer dedicated an entire room in her personal chambers to Klimts work， even displaying a framed photograph of the artist.

除了委托創作这两幅肖像，布洛赫-鲍尔夫妇还收藏了克里姆特的若干幅风景画和素描，使他们的奥地利现代艺术藏品更为丰富。事实上，阿黛尔·布洛赫-鲍尔在她自己的套房里专门辟出了一整间屋子摆放克里姆特的作品，甚至还有一张画家本人的带框相片。

Rumor had it that Adele Bloch-Bauers relationship with Gustav Klimt extended beyond artist and muse. Furthermore， some historians even speculate that her likeness inspired additional Klimt masterpieces—such as The Kiss3 and Judith I.

有传言说，阿黛尔·布洛赫-鲍尔与古斯塔夫·克里姆特的关系超越了艺术家与灵感源泉。此外，一些历史学家甚至猜测，为阿黛尔画像激发克里姆特创作出了更多杰作，比如《吻》和《朱迪斯一号》。

Reclaiming the “Mona Lisa of Austria”

索回“奥地利的《蒙娜丽莎》”

Tragically， in 1925， Adele Bloch-Bauer died suddenly of meningitis at age 42. Her husband Ferdinand kept her portrait on display at his home until the onset of World War II.

1925年，阿黛尔·布洛赫-鲍尔突患脑膜炎不幸去世，终年42岁。她的丈夫费迪南德一直把她的肖像摆在家中，直到第二次世界大战爆发。

When the Nazi regime invaded Austria in 1938， Ferdinand fled the country. His apartment， and the valuable art collection it housed， were seized by the Nazis. Like many Jewish people who were displaced by the invasion， Ferdinand was never able to reclaim his belongings.

1938年，德国纳粹入侵奥地利，费迪南德逃往国外。他的公寓和收藏其中的珍贵艺术品都被纳粹掠走。和许多因纳粹入侵而流离失所的犹太人一样，费迪南德再也无法索回自己的财产。

Portrait of Adele Bloch-Bauer I later ended up in the hands of the Austrian government. The Woman in Gold was exhibited at the Belvedere Gallery in Vienna for 60 years， which proudly advertised it as “the Austrian Mona Lisa.”

《阿黛尔·布洛赫-鲍尔肖像一号》后来落入奥地利政府之手。这幅别称《金衣女子》的名画在维也纳的美景宫美术馆展出了60年，该馆在宣传时自豪地称它为“奥地利的《蒙娜丽莎》”。

Meanwhile， Ferdinands living relatives tried and failed to reclaim the Bloch-Bauer fortune—until the 1998 Art Restitution Law was enacted in Austria.

与此同时，费迪南德一些在世的亲属试图索回布洛赫-鲍尔的财产，可是屡试屡败——直到1998年奥地利颁布了《艺术品归还法》。

In 2000， Ferdinand Bloch-Bauers niece Maria Altmann， who emigrated from Vienna to Los Angeles， sued the Republic of Austria. She demanded the return of the Bloch-Bauer Klimt paintings， including Portrait of Adele Bloch-Bauer I， to their rightful heirs.

费迪南德·布洛赫-鲍尔的侄女玛丽亚·阿尔特曼早年从维也纳移居到洛杉矶。2000年，阿尔特曼起诉奥地利，要求将布洛赫-鲍尔收藏的克里姆特的画作，包括《阿黛尔·布洛赫-鲍尔肖像一号》，归还给合法继承人。

Soon， the Republic of Austria v. Altmann case garnered international attention. After a lengthy legal battle， Altmann eventually won the case. The Belvedere Gallery was then forced to turn over their most prized painting to Ferdinand and Adele Bloch-Bauers descendants.

很快，阿尔特曼诉奥地利案引起国际社会的广泛关注。经过漫长的法律诉讼，阿尔特曼最终赢得了这场官司。美景宫美术馆被迫将这幅视为镇馆之宝的珍贵画作交还给布洛赫-鲍尔夫妇的后代。

Legacy of the portrait

肖像的后世影响

The legal controversy attracted new audiences—and new intrigue—to Klimts masterful portrait. The case even inspired a 2015 feature film4 and highlighted ongoing efforts to repatriate other Nazi-looted art.

这场法律争斗为克里姆特创作的肖像画杰作带来了新的观众——也激发了新的兴趣。这起案件甚至被改编成2015年上映的一部故事片，还使人们更加关注对其他纳粹掠夺艺术品的持续追讨。

In 2006， Maria Altmann sold the painting for $135 million—the highest price ever paid for a painting at the time. Today the Woman in Gold is on permanent display at the Neue Galerie5 in New York City alongside an impressive collection of German and Austrian art of the same period.

2006年，玛丽亚·阿尔特曼以1.35亿美元的价格出售了这幅画——创下了当时绘画作品拍卖价的最高纪录。如今，《金衣女子》在纽约的新美术馆永久展出，一起展出的还有一批德国和奥地利颇具影响的同时代艺术藏品。

Gustav Klimts Portrait of Adele Bloch-Bauer I is one of the most recognizable portraits in art history today. It epitomizes the opulent， ornamental style of the Vienna Secession. Also it highlights the critical role of Jewish patrons of the arts—including women like Adele Bloch-Bauer—in shaping the aesthetics of Modernism.

古斯塔夫·克里姆特的《阿黛尔·布洛赫-鲍尔肖像一号》是当今艺术史上最知名的肖像画之一。它集中体现了维也纳分离派的奢华装饰风格。同时，它也彰显了艺術圈的犹太赞助人——包括阿黛尔·布洛赫-鲍尔这样的女性——在现代主义美学形成过程中的重要作用。

1 reckon with sb/sth 重视。to be reckoned with 不容忽视的。

2全视之眼，又称上帝之眼、全知之眼，是一只在万丈光芒中被三角形环绕的眼睛，代表“上帝”监视人类的法眼。其来源可追溯到古埃及的荷鲁斯之眼。荷鲁斯是鹰头神及太阳神的化身，荷鲁斯之眼是能察知世间万物的神圣之眼，代表着神明的庇佑与至高无上的权力。

3参见本刊2024年第1期封底画介绍。

4指影片《名画的控诉》（Women in Gold），讲述了为《阿黛尔·布洛赫-鲍尔肖像一号》这幅名画的归属权打官司的真实故事，并引出了二战那一段沉重的历史。该片由英美合拍，女主角由英国国宝级演员、奥斯卡影后海伦·米伦出演。该片第一次以剧情片的方式涉及了战争中被掠夺艺术品的归属问题，这一历史遗留问题在全世界至今难解，片尾的简短字幕写道：仍有10万多件被盗艺术品下落不明。  5新美术馆（又译新画廊），2001年开馆，馆名为德语（英语译为New Gallery），下有一行小字Museum for German and Austrian Art，意指该馆专门收藏德国和奥地利的艺术品。天价购买《阿黛尔·布洛赫-鲍尔肖像一号》的正是该馆创始人、艺术收藏家罗纳德·劳德（Ronald Lauder）——世界知名化妆品品牌雅诗兰黛创始人的小儿子，雅诗兰黛集团现任名誉董事长，世界犹太人大会主席。