最自然的幻覺：馬內的女童肖像與母愛的手筆

從1860年前後起，馬內經常描繪不同年齡與社會階層的兒童，他的女童肖像多作於1876－1882年間，常見不同角度的描繪。在孩童的性格形塑過程中，由畫家挑選其特質來製作人像，意味著畫家對人物的本性與習性的觀看方式。對十九世紀中期法國中產階級而言，兒童從哪個階段開始顯現性格特質？在男童與女童的品格教育有別的脈絡下，如何刻劃女嬰與女童的性格？本文探討兩組女童肖像的特點，比較當代中產階級喜好的兒童肖像，檢視馬內如何刻劃女童的面貌特徵，凸顯其姿態與表情，並解釋女童肖像在馬內藝術中的重要性。

關鍵字

馬內；肖像；時尚；色彩；十九世紀

並列摘要

Starting from the 1860s, Manet frequently painted children of different ages and social classes. His girl portraits were done primarily between 1876-1882, often showing depictions from a number of perspectives. These portraits, painted while the children's character was still forming, indicate the artist's way of observing a model's nature and habits. At what stage of growth does a child exhibit signs of personality for mid-19th century French bourgeoisie? How did Manet depict infant and young girls' character in the context of different forms of moral education for boys and girls. This essay considers the traits and features of two sets of portraits in order to compare child portraits well loved by the bourgeoisie of that period. Further, my analysis of Manet's work examines how he depicted individual girls' characteristics, drawing forth their postures and expressions. Finally, this essay explains the importance of girl portraits in Manet's art.