这8位画家将自画像藏在了自己的名画中，你能找到几个？

From the 15th century to our current day, the Renaissance maxim holds true: "Every painter paints himself." Beyond straightforward self-portraits, artists through the ages have left special signatures on their canvases, covertly inserting their own visages into their works in unusual and inventive ways.

从15世纪到当代，文艺复兴时期的格言“每个画家都画自己”是正确的。除了简单的自画像，各个时代的艺术家都在他们的画布上留下了特别的签名，他们以不同寻常的、独具创造性的方式，将自己的形象藏于作品之中。

This sense of self-importance for the artist arose in the Renaissance with humanist values that prized individualism and creativity. During that era, two trends for hidden self-portraits emerged in Europe.

这种艺术家对自我重要性的认知随着文艺复兴时期重视个人主义和创造力的人文主义价值观的兴起而上升。在那个时代，欧洲出现了两种隐藏自画像的趋势。

In Italy, artists tended to include their portraits on the right side of paintings or altarpieces, with their eyes looking knowingly out at the viewer.

在意大利，艺术家们倾向于把他们的肖像放在绘画或祭坛的右边，他们的眼睛有意地看着观众。

Northern Renaissance artists, however, liked to toy with dense and precise symbolism that showed off their technical skills. The self-portraits they worked into their oil paintings are usually found distorted in reflective surfaces, like mirrors.

然而，北方文艺复兴时期的艺术家喜欢用密集而精确的象征手法来表现他们的技巧。他们在油画中的自画像通常以扭曲的样子画在具有反射性的物体表面，如镜子。

The traditions begun in this artistic golden age remained cogent through the modern era and have persisted to this day. Here, we spot eight self-portraits artists concealed in some of their most famous works.

在这一艺术黄金时代开始的传统在整个现代仍然令人信服，并一直延续到今天。在这里，我们发现了八位将自画像隐藏在其最著名的作品中的艺术家。

扬·范·艾克《阿尔诺菲尼的婚礼 》（1434）

One of the most enigmatic paintings in Western art history is also one of the most fun to look at. Jan van Eyck's sumptuous wedding portrait revels in painstakingly rendered tokens of wealth and other symbolic details.

这是西方艺术史上最神秘的绘画之一，也是最有趣的观赏作品之一。扬·范·艾克的奢华结婚照煞费苦心地呈现出财富和其他象征性细节。

Much has been made of the small convex mirror on the wall behind the newlyweds, which shows two additional figures entering the room. The bridegroom raises his arm in an apparent greeting, a gesture that is returned by one of the men in the mirror.

新婚夫妇身后的墙上的小凸镜凸显了很多细节，上面画着另外两个进入房间的人。新郎举起手臂，显然是在打招呼，镜子中另一个人给予回应。

Immediately above it is Van Eyck's flowery signature: "Jan van Eyck was here." Does the writing suggest that the mirror men are the artist and his assistant visiting his subjects? It's one of art history's greatest unsolved mysteries.

紧其随上的是扬·范·艾克华丽的签名:“扬·范·艾克曾在此。”这些文字是否暗示镜中正是艺术家及其助手在招呼来访对象？这是艺术史上最大的未解之谜之一。

拉斐尔《雅典学校》（1509-11）

Raphael's famous fresco, painted on the wall of the Vatican's Apostolic Palace, is considered a masterpiece of Classicism. The scene is a highly ordered paean to philosophy. Scores of revered ancient thinkers -- from Pythagoras to Ptolemy -- populate a vaulted marble hall with columns and coffered ceilings.

这是拉斐尔著名的壁画，它被画在梵蒂冈博物馆的墙上，被认为是古典主义的杰作。画中的场景是对哲学的最高礼赞。从毕达哥拉斯到托勒密，许多受人尊敬的古代思想家都聚集在一个有圆形石柱和格子天花板的拱形大理石大厅里。

The fresco is a veritable who's who of Renaissance intellectualism, and Raphael conflated his own era with the vaunted past. According to fellow Italian painter Giorgio Vasari, Raphael depicted his contemporaries in the scene as the philosophers.

这幅壁画是文艺复兴时期理智主义的真实写照，拉斐尔将自己的时代与过去的辉煌混为一谈。据意大利画家乔治奥·瓦萨里说，拉斐尔把他的同时代人描绘成哲学家。

Bramante, bent over a chalkboard, is Euclid or Archimedes; Leonardo da Vinci is thought to be the model for Plato; and Michelangelo may be the face of Heraclitus.

在黑板上弯着腰的布拉曼特是欧几里得或阿基米德；列昂纳多·达·芬奇被认为是柏拉图的原型；米开朗基罗可能代表着赫拉克利特。

The artist couldn't resist including his own face in the mix: Raphael's curious face peeks out from behind the arch on the far right of the fresco, beside Ptolemy and Zoroaster.

画家忍不住把自己的脸也融入其中：拉斐尔那张好奇的脸从壁画最右边的拱门后面探出来，旁边是托勒密和琐罗亚斯德。

米开朗基罗《最后的审判》（约1536-41）

It's common knowledge that Michelangeloloathed the commissionto paint the Sistine Chapel ceiling in the Vatican. Ina poemwritten for a friend in 1509, the tempestuous artist griped about the long hours laying on his back: "My brush, above me all the time, dribbles paint so my face makes a fine floor for droppings!"

众所周知，米开朗基罗厌恶为梵蒂冈西斯廷教堂的天花板绘画的工作。1509年，在写给一位朋友的一首诗中，这位暴躁的艺术家抱怨自己长时间仰卧着:“我的画笔一直在我的上方，这样我的脸就成了颜料滴落的好去处!”

In the end, the Renaissance master was able to cleverly express his frustration -- and have some fun at the pope's expense -- when he took on the "Last Judgment" fresco for the altar wall of the chapel.
最后，这位文艺复兴时期的大师在为小教堂的祭坛墙绘制“最后的审判”的壁画时，巧妙地表达了自己的沮丧之情，还拿教皇开涮。

In the center of the expansive painting, Michelangelo's horridly eyeless face sags, an empty suit of flagellated skin, from Saint Bartholomew's hand.

在这幅巨幅画作的中央，从圣巴塞洛缪的手上垂下的是米开朗基罗可怕的无眼脸，一副没有骨架的皮囊。

The Renaissance master imposed himself on the martyred saint, who is waiting to discover if he is off to heaven or hell after a grueling trial of faith.

这位文艺复兴时期的大师把自己强加于这位殉道者圣人身上，正等着在经历了一场折磨人的信仰考验后，去发现自己究竟是去了天堂还是地狱。

卡拉瓦乔《大卫与巨人之首》（1609-10）

Before his untimely death at age 38, Caravaggio painted himself in many guises, most frequently as the Greek god of wine, Bacchus.

卡拉瓦乔在38岁那年去世之前，曾以多种模样将自己画于作品之中，多数时候是希腊酒神巴克斯。

In the last year of his life, he decided to include a self-portrait in a depiction of the victorious David proffering Goliath's severed head -- one of several versions Caravaggio made of the biblical story.

在他生命的最后一年，他决定在一幅描绘胜利的大卫将歌利亚的头颅献上的画面中加入自画像——这是卡拉瓦乔根据圣经故事创作的几个版本之一。

Here, Caravaggio is not the youthful, good-looking David, but the defeated Goliath, his slack-jaw mouth confirming his slaughter. Instead of a look of satisfied victory on his face, David appears pensive and a bit mournful, perhaps even regretful, as he gazes at his prize.

在这里，卡拉瓦乔不再是年轻英俊的大卫，而是被击败的歌利亚，他那张张口结舌的嘴证实了他的杀戮。当大卫凝视着他的战利品时，他脸上并没有得意洋洋的胜利的表情，而是显得若有所思，有点悲伤，甚至可能有些后悔。

Scholars have surmised that the model for the young hero was Cecco, Caravaggio's studio assistant and purported lover. The painting, then, has an unexpected psychosexual intimacy to it, one that is reiterated by David's sword, standing suggestively erect between his legs.

学者们猜测，这位年轻英雄的原型是卡拉瓦乔的画室助手、同时传说中的情人塞科。于是，这幅画就有了一种意想不到的性心理亲密感，大卫的剑也重申了这一点，它挑逗地直立在两腿之间。

克拉拉·皮特斯《静物与奶酪，杏仁和椒盐脆饼》（约1615年）

Dutch still lifes seem straightforward, but often suggest complex meditations on mortality. While the technical difficulty of the genre and its intellectual conceits might have presented a barrier to access for female artists, women in the 17th century thrived in the genre. Clara Peeters was among the most talented still-life artists of her day.

荷兰的静物似乎直截了当，但常常暗示着对死亡率的复杂思考。尽管该类型的技术难度及其智力上的想法可能成为女性艺术家的障碍，但17世纪的女性却在该类型中蓬勃发展。克拉拉·皮特斯是当时最有才华的静物画家之一。

Many Dutch artists of the era painted lavish arrangements with oysters, mince pies and imported fruits and peppercorns on silver and gold plates, but Peeters favored humble displays of native dairy products like cheese and butter with peasant bread.

当时许多荷兰艺术家在银盘和金盘上用牡蛎、肉馅派、进口水果和胡椒粉画出奢华的图案，但佩特斯偏爱谦逊地展示奶酪和黄油以及农家面包等本土乳制品。

Yet she couldn't resist showing off her painting chops in one still life featuring an array of cheeses, almonds and elegantly twisted pretzels.

然而，她无法抗拒在一幅静物画中炫耀自己的绘画印章，其中包括一系列奶酪，杏仁和优雅扭曲的椒盐脆饼。

In the reflection of the ceramic goblet's pewter lid, Peeters carefully rendered her self-portrait, accurately distorted by the curve of the object. In lieu of a signature, the artist "carved" her name into the silver butter knife.

在陶瓷酒杯的锡盖的反射中，佩特斯仔细地渲染了她的自画像，该自画像被物体的曲线准确地扭曲了。画家将她的名字“刻”入了银色黄油刀来取代署名。

雅克·路易·大卫《拿破仑一世的加冕礼和约瑟芬女皇在巴黎圣母院的加冕礼》（1804）

The French Neoclassical painter Jacques-Louis David is an interesting figure in the history of revolutionary France. Despitehis rolein overthrowing the monarchy, after the war, David cannily pledged allegiance to Napoleon, becoming the emperor's royal painter and master propagandist.

法国新古典主义画家雅克·路易·大卫是法国大革命历史上一个有趣的人物。尽管他在推翻君主制方面发挥了作用 ，但在战后，大卫还是诚心诚意地效忠拿破仑，成为皇帝的皇家画家和主要的传播者。

Napoleon himself commissioned David to record his opulent 1804 coronation in a monumental history painting that conveys a strong political message of power.

拿破仑本人委托大卫在一张历史性画作中记录他的1804年加冕典礼，这幅画传达了强大的政治权力信息。

Today, the artwork dominates the Louvre's Great Hall. It's so massive that its subjects appear life-size; viewers might feel as if they were among the colorfully painted crowd.

如今，艺术品占据了卢浮宫的大厅。它是如此之大，以至于它的主体看起来像真人大小。观众可能会觉得自己就像是在彩绘人群中一样。

David himself sits in the elevated theater box in the center of the composition, sketching the scene amid the velvet-, fur- and satin-clad members of the imperial family and other aristocrats.

大卫本人坐在画作中央的高架剧院里，用天鹅绒，毛皮和绸缎大衣勾勒出王室和其他贵族成员中生活的场景。

In reality, the artist was present at the actual coronation ceremony at Notre-Dame. His inclusion in the painted version of events shows the artist's allegiance to the crown, and nods to his undeniable tour-de-force artistic achievement.

实际上，这位艺术家出席了在巴黎圣母院举行的加冕典礼。他在这一事件的彩绘画中，表明了艺术家对王室的忠诚，并赞扬了他不可否认的力作艺术成就。

保罗·高更《The Little One Is Dreaming, tude》（1881）

It wasn't unusual for modern and Impressionist artists to include themselves in their paintings; they often inhabited their own scenes of Parisian cafes, bars and parks.

对于现代和印象派艺术家来说，将自己纳入画作并不稀奇。他们经常居住在巴黎咖啡馆，酒吧和公园里。

Henri de Toulouse-Lautrec, to name one example, depicted himself in the background of "Au Moulin Rouge" (1892-95), one of his favorite haunts.

举个例子，亨利·德·图卢兹·罗特列克在他最喜欢出没的地方之一“Au Moulin Rouge（1892-95）”的背景下描绘了自己。

But Paul Gauguin took a stranger approach to self-portraiture in "The Little One Is Dreaming, tude." As a child lays sleeping, a creepy jester doll stands, a little too animated, beside the crib.

但保罗·高更在《The Little One Is Dreaming, tude》中采用了更加奇怪的自画像。当孩子躺在床上睡觉时，一个令人毛骨悚然的小丑玩偶有生命力般地站在小床旁。

Look closely at its face and notice the fool is Gauguin. The artist may have intended the toy to be a figment of the child's dream. If that's the case, he's more nightmare than fantasy.

仔细看它的脸会发现愚弄者是高更。艺术家可能曾打算把玩具当作孩子梦寐以求的东西。如果真是这样，他比幻想更像噩梦。

妮可·艾森曼《泳道上的游泳者》(1995)

In crowded paintings of beer gardens and house parties that remix art-historical styles, Nicole Eisenman resurrects the sociable leisure scenes favored by modern artists of the 19th and 20th centuries for the contemporary age.

在油画作品啤酒花园和家庭聚会中，那是艺术历史风格的混合，妮可·艾森曼重现了19世纪和20世纪的现代艺术家为当代所钟爱的社交休闲场景。

Eisenman herself rarely makes an appearance in her work, though her friends and lovers often populate scenes. An early painting by the artist, however, provides a typically humorous yet vulnerable self-portrait.

艾森曼本人很少出现在她的作品中，然而她的朋友和恋人经常出现在场景中。然而，这位艺术家早期的一幅画展现了一幅典型的幽默却又脆弱的自画像。

The frenetic composition features a mélange of nude swimmers lashing about the lap lanes, frantically groping at one another in an unusually sexual take on a swimming pool scene.

狂热的构图刻画了一群裸体游泳者在泳道上疾行，疯狂地互相触摸，在游泳池中发生了不寻常的交欢。

On the bottom right side of the work, Eisenman, mid-backstroke and wearing nothing but goggles and a swim cap, gasps for air. It's funny and frightening and hot, all at once -- characteristics that seem essential to her work to come.

在作品的右下角，艾森曼仰泳着，只戴着护目镜和泳帽，其它什么都没穿，并呼吸着空气。这一系列有趣，令人恐惧和火热的特征对于她的未来作品似乎至关重要。

你发现了几个？

编辑：Eva，Lumos

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