Nana: Mythos und Wirklichkeit 娜娜：神話和現實
この画像を表示ナナ―マネ・女・欲望の時代 (PARCO PICTURE BACKS) 単行本 – 1991/3
ヴェルナー ホーフマン (著), 水沢 勉 (翻訳)
- 単行本: 318ページ
- 出版社: PARCO出版局 (1991/03)
- 言語: 日本語
- ISBN-10: 4891942622
- ISBN-13: 978-4891942625
- 発売日： 1991/03
- 梱包サイズ: 21 x 15.4 x 2.2 cm
| Nana | |
|---|---|
 | |
| Artist | Édouard Manet |
| Year | 1877 |
| Medium | oil on canvas |
| Dimensions | 264 cm × 115 cm (104 in × 45 in) |
| Location | Kunsthalle Hamburg, Hamburg |
Nana is a painting by French painter Édouard Manet. It was completed in 1877 and was refused at the Salon of Paris the same year. The work is now at the Kunsthalle Hamburg art museum in Germany.
Description[edit]
The painting shows a young and beautiful woman who stands before a mirror with two extinguished candles, her face turned to the spectator. Her dress is incomplete; she wears a white chemise, blue corset, silk stockings and high-heeled footwear. The interior suggests that it is a boudoir. Behind the woman is a sofa with two pillows. An elegantly dressed man, sitting on the sofa, can be partly seen on the right of the painting. On the left side, there is a chair, a table and a flowerpot.
Interpretations[edit]
Both the title and the numerous details suggest that the picture represents a high class prostitute and her client. "Nana" was a popular assumed name for female prostitutes during the second half of the 19th century (much like the connotation "Candy" has had for English-speakers more recently). Even today the French word "nana" is used to describe a frivolous woman (or simply "a female" in argot[1]).
Reception[edit]
Manet wanted to present the painting at the Salon of Paris but it was rejected because it was deemed to be contemptuous of the morality of the time. French society was not prepared for such frank depictions of prostitution, and the critics did not see the artistic qualities of the work and concentrated solely on the scene which was represented. One of the defenders of Manet was Émile Zola who in 1880 published a novel of the same name as the ninth volume of Les Rougon-Macquart series. However, there is no clear evidence of mutual inspiration in the choice of the theme and the title as the book was published three years later. Perhaps Manet found inspiration in L'Assommoir, Zola's previous book, in which the character of Nana appears for the first time.[2]
References[edit]
- ^ http://www.e-dictionary.info/en/broads/
- ^ "Le Recentrage pornographique" (PDF) (in French). Psychanalyse Paris. p. 4. Retrieved 24 March 2010.[dead link]
- The article is a translation of Polish article "Nana (obraz Maneta)" as of 2010-03-24
ナナ NANA >>関連項目一覧
プリュギア(フリギア)神話の川神サンガリオスの娘。小アジアの大地母神の別名でもあるという。 アッティス神の母。
両性具有のアグディスティス神が、謀られて寝ている間に男根に縄がくくられ、起きて体を動かした 時に男根を失い、その時流れた血が大地に落ち、巴旦杏(はたんきょう)または石榴(ザクロ)の木と実がなり、 それを食べた河の神の娘ナナがみごもって産んだのがアッティスである。
あるいは美しい実だったので摘んで膝の中にかくしたところ、実が消えてみごもったという。
父の神からは穢れた女として洞窟へ閉じ込められ死ぬほどの飢えに苦しんだという。 お産から回復するまで大母神が食べ物を与えてくれた。
生まれた子供をサンガリオスが追放したが、牡山羊が世話をしたという。人々がみつけた時、「山羊の乳」という飲み物で養われていたという。
参考資料
・世界の神話百科 東洋編 レイチェル・ストーム：著 原書房
・ギリシアの神話 神々の時代 カール・ケレーニイ：著 中央公論社
ナナ：神話と現実
Werner Hofmann (August 8, 1928 in Vienna - 13 March 2013 in Hamburg) was an Austrian art historian, cultural journalist, writer, curator and museum director, who is "considered by his colleagues as one of the most distinguished European scholars of modern art and its ideology."[1]
Life and work[edit]
Hofmann was the son of Leopold Hofmann and Anna Visvader. From 1947 to 1949, he studied art history at the universities of Vienna and Paris, where he completed a Ph.D. dissertation on the "Graphische Gestaltungsweise von Honoré Daumier". From 1950 to 1955 he worked as an assistant at the Albertina in Vienna. At that time, he was also a visiting professor at Barnard College, Columbia University in New York. In 1960, he published his groundbreaking study on 19th-century European art, Das Irdische Paradies: Kunst im 19. Jahrhundert, which was soon translated into English. In it, he explained 19th-century art out of its opposing themes rather than in a chronological manner. In 1964 he was a visiting professor at the University of California at Berkeley.
In 1962, Hofmann was the founding director of Vienna's Museum of the 20th Century, which he ran until 1969 - today mumok (Museum Moderner Kunst Stiftung Ludwig Wien). From 1969 to 1990 he was director of the Hamburger Kunsthalle. From 1981 to 1982, he held a visiting professorship at Harvard University in Cambridge, Massachusetts.
Hofmann curated famous "Kunst um 1800" exhibitions at the Hamburger Kunsthalle on Caspar David Friedrich, Philipp Otto Runge, William Blake, Henry Fuseli, John Flaxman, J. M. W. Turner and Francisco de Goya and also exhibitions on contemporary artists such as Franz Erhard Walther, Joseph Beuys and Georg Baselitz, which are "regarded as milestones in the history of exhibitions at the Hamburger Kunsthalle and for German art museums."[2]
Hofmann is known for having connected two schools of art history: the Vienna School with the Hamburg School. According to the Dictionary of Art Historians, his "work was highly interdisciplinary, drawing examples from music, philosophy and literature to elucidate what were in many cases well-known works of art in new ways. This non-linear, a-historical (but not anti-historical) view of art history influenced a generation of modernist art historians who viewed their art works thematically rather than as a series of style changes."
Still full of energy and having a new project on "Kunstkammern" and Julius von Schlosser's work on the same subject in mind, Hofmann died of a heart attack in a hospital.[3]
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