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This is an article about Pre-Raphaelites, currently held its exhibition in London.  Original English text from The Telegraph with Japanese translation.

ラファエル前派に関する記事です。現在,ロンドンのテートブリテンで特別展が開催されているようです。The Telegraphに掲載されている英語の原文と、その試訳です。


Pre-Raphaelites, Tate Britain exhibition: visions that tell us who we are


Kitsch, old-hat and irrelevant? The Tate’s new blockbuster show sets out to prove that the Pre-Raphaelites’ hyper-real fantasies are anything but. Mark Hudson welcomes this timely reappraisal.

低俗な芸術作品、陳腐、不適切? テートで新しく始まった大ヒット特別展、ラファエル前派の超現実的ファンタジーは、そんな通説を覆している。マーク・ハドソンが、このタイムリーな再評価を歓迎する。

By Mark Hudson
8:39AM BST 12 Sep 2012

英国時間 2012年9月12日8:39AM

Lady Lilith by Dante Gabriel Rossetti

Image: The Telegraph

Visit any of Britain’s big regional art galleries – in Manchester, say, or Liverpool or Birmingham – and you’ll find rooms filled with paintings from the period when these great industrial cities were at their zenith: the Victorian era.


There are tastefully eroticised mythological scenes; didactic domestic tableaux; and works of fusty Symbolism populated by pallid, big-jawed, ill-looking ladies. Faced with this psychic cornucopia from a time that still exerts an overwhelming influence on our own, I never know whether to linger in appalled fascination – or run.


And I’m far from alone in that. With its air of suffocating sententiousness, its leaden insistence on delivering a message, its camphor-scented whiff of the funereal, Victorian art is, of all eras in British art, the most alien to contemporary taste.


Always in these places there will be a few works that stand out through their sheer oddness, which in their heightened colour, mystical religiosity and hyper-real detail (the effect of which is anything but realistic) exemplify much that is difficult to contend with in Victorian art, while seeming to exist in a strange category all of their own. These are the works of the Pre-Raphaelite Brotherhood.


That the principal Pre-Raphaelites – Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt – are among the most singular figures in the story of British art isn’t in doubt. Rossetti, the womanising poet-turned-painter, exerted an extraordinary influence despite his technical limitations as an artist.


Millais, the movement’s boy genius, sold out his formidable gifts for the comfortable life of a society painter; while Hunt, the biblically obsessed moralist, fell in love with his wife’s sister and created some of the most curious paintings seen in this country or anywhere else.

<To be continued>