Placeholder Image

字幕表 動画を再生する

審査済み この字幕は審査済みです
  • Is she turning towards you or away from you?


  • No one can agree.


  • She's the mysterious subject of Dutch master Johannes Vermeer's "Girl with the Pearl Earring," a painting often referred to as the "Mona Lisa of the North."

    彼女はオランダの巨匠 ヨハネス・フェルメールが描いた。ミステリアスな 「真珠の耳飾りの少女」です。「北のモナ・リザ」とも 称されることが多い絵画で、

  • Belonging to a Dutch style of idealized, sometimes overly expressive paintings known as "Tronies," the "Girl with the Pearl Earring" has the allure and subtlety characteristic of Vermeer's work.

    理想化したり 時には劇的な表現を用いるオランダ絵画スタイルである、「トローニー」に属します。私たちを魅了する 「真珠の耳飾りの少女」は、フェルメールの作品らしい 魅力と巧みさを備えています。

  • But this painting stands apart from the quiet narrative scenes that we observe from afar in many of Vermeer's paintings.

    ただ 静かで寓意を感じさせる情景を離れたところから眺めるような、フェルメールの他の作品群からは 際立ったものがあります。

  • "A Girl Reading a Letter"


  • "A Piano Lesson"


  • "A Portrait Artist at Work"


  • These paintings give us a sense of intimacy while retaining their distance.

    これらの絵は 親近感を 感じさせられる一方、カーテンを描く事で 距離感が強調されています。

  • A drawn curtain often emphasizes the separation.


  • We can witness a milkmaid serenely pouring a bowl of milk, but that milk isn't for us.

    ミルクを静かに注いでいる女性を 私たちは目にしているものの、このミルクは私たちのためでは ありません。

  • We're only onlookers.


  • The studied composition in Vermeer's paintings invokes a balanced harmony.

    フェルメールの絵画の よく練られた構成は、バランスがとれた調和を呼び起こしています。

  • With the checkered floor in many of his works, Vermeer demonstrates his command of perspective and foreshortening.

    作品の多くに 市松模様の床を登場させることで、フェルメールは彼の視点と遠近法の技能を示しています。

  • That's a technique that uses distortion to give the illusion of an object receding into the distance.

    形のゆがみを正しくとらえるテクニックで、物体が絵の奥に退いているかのように 見えるのです。

  • Other elements, like sightlines, mirrors, and light sources describe the moment through space and position.

    他の要素、例えば視線鏡や光源、空間や位置を通じて ある瞬間を描きだします。

  • The woman reading a letter by an open window is precisely placed so the window can reflect her image back to the viewer.

    窓辺で手紙を読む女性を 巧みに配置することで窓にも彼女の姿が映りこんでいます。

  • Vermeer would even hide the leg of an easel for the sake of composition.

    構成のためにはイーゼルの脚を 隠してしまっているのもあります。

  • The absence of these very elements brings the "Girl with the Pearl Earring" to life.

    「真珠の耳飾りの少女」は、こういった要素を省いて 生き生きと描かれています。

  • Vermeer's treatment of light and shadow, or chiaroscuro, uses a dark, flat background to further spotlight her three-dimensionality.

    フェルメールは 光と影の処理に明暗法を用い、暗くフラットな背景に スポットライトで立体感を出しています。

  • Instead of being like a set piece in a theatrical narrative scene, she becomes a psychological subject.


  • Her eye contact and slightly parted lips, as if she is about to say something, draw us into her gaze.

    こちらに向けた視線や 何かを言おうとするかのような開きかけた口や、彼女のまなざしに引き込まれるのです。

  • Traditional subjects of portraiture were often nobility or religious figures.

    伝統的な肖像画のモデルは 貴族や聖者が多いのですが、

  • So why was Vermeer painting an anonymous girl?


  • In the 17th century, the city of Delft, like the Netherlands in general, had turned against ruling aristocracy and the Catholic church.

    17 世紀、デルフトの街は、オランダ全体と同様に、支配する貴族やカトリック教会に反旗を翻していました。

  • After 8 decades of rebellion against Spanish power, the Dutch came to favor the idea of self-rule and a political republic.

    80 年に及ぶスペインの権力への反乱の後、オランダ人は自決と政治的な共和制を支持するようになりました。

  • Cities like Delft were unsupervised by kings or bishops, so many artists like Vermeer were left without traditional patrons.


  • Fortunately, business innovation, spearheaded by the Dutch East India Company, transformed the economic landscape in the Netherlands.


  • It created a merchant class—a new type of patron.


  • Wishing to be represented in the paintings they financed, these merchants preferred middle-class subjects depicted in spaces that looked like their own homes surrounded by familiar objects.


  • The maps that appear in Vermeer's paintings, for example, were considered fashionable and worldly by the merchant class of what is known as the Dutch Golden Age.


  • The oriental turban worn by the "Girl with the Pearl Earring" also emphasizes the worldliness of the merchant class, and the pearl itself, a symbol of wealth, is actually an exaggeration.


  • Vermeer couldn't have afforded a real pearl of its size.


  • It was likely just a glass or tin drop varnished to look like a pearl.


  • This mirage of wealth is mirrored in the painting itself.


  • In greater context, the pearl appears round and heavy, but a detailed view shows that it's just a floating smudge of paint.


  • Upon close inspection, we are reminded of Vermeer's power as an illusion maker.


  • While we may never know the real identity of the "Girl with the Pearl Earring," we can engage with her portrait in a way that is unforgettable.


  • As she hangs in her permanent home in the Mauritshuis Museum in The Hague, her presence is simultaneously penetrating and subtle.


  • In her enigmatic way, she represents the birth of a modern perspective on economics, politics, and love.


Is she turning towards you or away from you?


審査済み この字幕は審査済みです

動画の操作 ここで「動画」の調整と「字幕」の表示を設定することができます

B1 中級 日本語 TED-Ed フェルメール 真珠 オランダ 少女 絵画


  • 11884 836
    April Lu に公開 2020 年 10 月 25 日