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本書為著名畫商雷奈·魯泊爾所寫的日記，其中講述了作者與各界藝術名流的交往故事，記錄了藝術作品在買賣之間的流轉遷徙，展示了作者對於藝術本身的獨到見解，雖不過是對流水生活的點滴摘錄，卻反映出整個時代的風雲變幻。
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Diary of an Art Dealer (René Gimpel)
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Product Details
- Paperback: 446 pages
- Publisher: Universe Pub; 1ST edition (October 1987)
- Language: English
René Gimpel (1881 — 1945) was a prominent French art dealer, friend and patron of living artists and collector. He was the son of a picture dealer and the brother-in-law of Sir Joseph Duveen. His witty and acerbic Journal d'un Collectionneur, translated and published as Diary of an Art Dealer,[1] are a primary source for the contemporary history of modern art and of collecting between the World Wars.
Trained in the classic traditions of connoisseurship, a great admirer of Chardin, Gimpel had an instinctive sympathy for the modern contemporaries among whom he moved: Georges Braque, Mary Cassatt, Claude Monet, Pablo Picasso and above all, his intimate friend Marie Laurencin. The friend of Anatole France, and Marcel Proust in his last years, he had a selective high regard for many museum professionals but a loathing of the experts who provided attributions and certificates of authenticity for paintings in the market, above all, for Bernard Berenson, deeply embroiled with Duveen.
In 1907 he had an option with Nathan Wildenstein to buy the collection of Rodolphe Kann, with what were considered in those days ten Rembrandts; bringing in Duveen, the consortium bought the entire collection for $4.2 million, split it up and made vast profits. Repeated trips to the United States garnered him further fortunes from sales to American collectors, whom he skewered in his private diaries, as showing off all their pictures "like rich children showing off their toys". In May 1919, three weeks of concentrated trading resulted in sales of five paintings, including Rembrandt's Portrait of Titus to Jules Bache, a tapestry and a Houdon portrait bust, for $730,000.[2]
During World War II Gimpel was interned by the Vichy authorities for his activities in the Resistance, released in 1942, but then re-arrested. In confinement he taught English to his fellow prisoners, in preparation, he said, for their coming liberation. Sent to Neuengamme concentration camp, Germany, his health gave out under the strenuous conditions under which he was held.[3]
李嘉熙 女，湘潭大学外语系教授。采菊西篱下，悠然见塔山，我本是凌源县散淡之人日出而作，日入而息，躬耕于大西沟，遗世而不独立。方是时也，我名为下放，实为流放。四人帮淫威之下，我与农民朝夕相处，斗地战天，颇也自得其乐。不料春秋十载，突然雾散云开，小平同志复出竟获二度解放，辗转来到湘潭大学。其时，吾已年近花甲，垂垂老矣，然体胖心广精神不恶，念往者之既逝，觉来者之可追，乃贾我余勇，挑起英国语言文学教研室之重担，兼授高年级翻译课程。唯奴隶知自由之可贵，兢兢业业，匆匆一十七载总算过了一段内容比较充实的生活。思昔抚今，感喟无已！我于24年出生于夏口，于南京入小学，扬州入中学，沅陵高中卒业，北平燕 京大学毕业。其时，双亲已于战乱中见背，我孤身走追四方，幸好，欣逢解放，成为新中国首届统一分配大学生之一，于49年中参加工作。我自来到湘潭大学以 后，追教78至95各级英语专业学生，又自86年起担任历届硕士研究生导师。在我有生之最后阶段，我把我的一切都献给了他／她们。殆至最后不得已放下教 鞭，则已行年古稀有余。真是人生几何对酒难歌得三湘英才而教育之，一乐也。教学之余。辛勤笔耕，略有译作与论文面世。除自编教材而外，其荦荦大者有《南斯 拉夫民间艺术》（沪人美，1955），《恍亚兹莱的艺术》（辽人美，1956）《德拉克罗瓦传略》（浙美院1959）《德拉克罗瓦日记》（京人美。 1981）。《画商詹伯尔日记》（辽美1997）等等，皆与西方艺术有关，字数累计当在百万以上。事为英国剑桥“国际传记中心”获知，认为上述成果皆属世界美术上精品。兼具传记特征。乃将我的简历收入其《国际名人传记大辞典》1992年第22卷之中并拟聘为终身研究员。我一生历尽沧桑，不意竟获海外知音，为感其情，并志于此。
[edit] Notes
- ^ Gimpel, Joseph Rosenberg, tr. Diary of an Art Dealer (New York:Farrar, Strauss & Giroux) 1966, with an introduction by Sir Herbert Read; it covers the years 1918-39.
- ^ Gimpel 1966:98-100.
- ^ Read, "Introduction" 1966.
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