胡汝森 (1919-1980)《 陌生的皺紋》Chagall Etchings for Dead Souls、艾森豪紀念堂的爭端

胡汝森《 陌生的皺紋》保留《 文星雜誌》的封面人物專欄。原先編輯希望以介紹科學家為主，不過胡先生的個性讓他的視野更廣點，保留50-60年代初的一些"關心的人物"的資料，譬如說，艾森豪卸任8年的美國總統任期，"從馬歇爾看美國將才的培育"一文，是中文寫的訃聞。
胡先生的翻譯有時候不怎樣順，不過我們可以會意。很謝謝他為我們留下這些人物肖像。

陌生的皺紋   胡汝森著台北市：文星,民53[1964] [5],240面；19公分文星叢刊；29 ...


陌生的皺紋(代序)

談雜誌封面人物

丹麥的國寶.

小兒麻痺症的征服者

復興西德經濟的"奇人"

替太空發展鋪路的范阿倫

業餘歷史家.

迪斯耐塑造"明日"

無師自通的薩格爾***

書生本色和實驗重結緣的李比

盟軍之寶**

平易近人的現代學者

重建西德國防軍的小排長

西歐共同繁榮引路人

施博格兼顧原子能善惡用途

土耳其民主政治之母


附錄------幾個可愛的和可懷念的 (12人，包括從馬歇爾看美國將才的培育......)

------

學經歷：	胡汝森原僑居於馬來西亞，抗戰前返回中國，投考軍校。曾主編《文星》雜誌及《國語日報》科學版，曾任職於聯經出版公司、衛康隱形眼鏡公司總經理等。
文學風格：	胡汝森的創作文類有散文及小說。文章論事冷靜、條理清晰。亦有詩作發表，內容直抒心中所感，用語滿懷悲憫。

胡汝森 (1919-1980)先生參加 聯經版的 Peter Drucker《管理學：使命、責任、實務》的翻譯，與作者通信請教，最後寫篇《管理的實踐成效》，刊登於《經濟日報》(1975-11.18起12天)，收持入姚為民的《杜魯克管理學新詮》台北：聯經，1976，頁275-305。
***
拜網路之賜，我們知道胡先生說的：

Chagall Etchings for Dead Souls - Spaightwood Galleries

Chagall (1887-1985) did not begin making etchings until 1921. After his return from Russia, he first tried his hand at etching in the prints he executed for his autobiography, My Life (Berlin, 1922-23). Moving to Paris, Chagall was approached by Ambroise Vollard, who wished to commission him to produce a set of etchings for a deluxe "livre de peintre" like the ones Vollard had already commissioned from Bonnard and Rouault. Chagall rejected Vollard’s choice of texts and instead suggested Gogol’s Dead Souls. The result is one of the masterpieces of modern art. Jean Adehmar’s brief summary in his Twentieth Century Graphics gives us some keys for entry into the work: "the numerous figures in profile show astonishing types; the Expressionist influence is very noticeable and the Russian atmosphere is admirably rendered." The characterizations of the people whom Chagall presents us are so striking that we instantly recognize them not simply as portaits of individuals but as representatives of the human comedy that so much of Chagall’s art illustrates for us. Nor is this effect diminished upon further viewing; rather it is strenghtened the more familiarity we gain with the images. As Franz Meyer has observed in Marc Chagall: His Graphic Work, the etchings paint a much larger mental canvas than mere individual types, showing Chagall’s "native Russia with its wind-swept vastness and, for all its bitter misery born of unreason and inertia . . . its inexhaustible, wholesome, joyous vitality as well." While there is satire and mockery in these plates, there is also acceptance and even love of the whole of human experience. As Meyer notes, "This entire world of stupidity, malice, and selfishness is rendered transparent through humor. . . . The basic incongruence of reality and appearance is so pointedly brought into relief that magnificently comical figures result. But this comedy is not a hostile satire or a pitiless record of these characters, with their weaknesses and their baseness. It is a liberating force which discloses the deep stream of exuberant life behind all the figures in the novel. Everywhere, running through all the comical elements, and borne along by a sort of inner joyfulness, there appears the fantastic, rich, inexhaustible reality of Russian life." Although the surface details of the etchings may be drawn from the Russia to which Chagall is so affectionately saying farewell, one realizes that Chagall’s affirmation of the whole of life—folly as well as brilliance, selfishness as well as altruism, fear as well as love, the surface illusions as well as the inner truths—has a relevance as universal as Shakespeare’s comedies or Joyce’s Ulysses. Robert Marteau ("Chagall as Engraver") has wisely insisted on this dimension of Chagall’s art, so strongly transcending its Russian origins, when he notes of the Dead Souls etchings, "Observation is what feeds this verse always. Nothing is set, nothing fixed: people and objects take life under the graver without our expecting it to happen, and their geste follows its course under our gaze amid the tribulations, joys, and jokes that each new day brings. We always feel how greatly life delights him, but Chagall adds a dimension to the fleeting manifestations of life that he seizes, and this extra dimension puts the work far above any mere realism limited to particular situations." Thus in looking at such etchings as "The new chief at the Treasury," "On route to Sobakevitch’s house," or "Tchitchikov and Manilov meeting in their overcoats," one notices first such details as the Russianness of the dress and of the landscape (including the quintessentially Russian troika which carries Tchitchikov to Sobakevitch’s), but then the universality of the depicted scenes takes over, and we find ourselves focusing more on the scurrying clerks whose new boss has just tried to terrify them into submission to his regime or the fantastic conversation between the coachman and the center horse whom he is accusing of loafing while his two fellows do all the work (and in so doing offers the horse the opportunity to laugh at him for thinking it within his power to make it work any harder and for providing the horse with an excuse not to work until the conversation has ended), or even the jostling and sparring for position between the two heavily clothed bargainers, each keeping his true position as hidden as his overcoat keeps his body bundled up and hidden from the winter’s cold. Once we have entered into this world of universal truths, we are freed to respond to the visions of the human comedy that inform the contrast between the painters’ joyous abandon and their employer’s terror in "The house painters," Madame Korobotchka’s extravagantly mixed emotions as she provides pillows for her unexpected guests, or the surrealistic vision of the clerks merging with their desks in "The registry of deeds." The Dead Souls etchings allow us to witness clearly to this first explosion in graphics of Chagall’s tremendous affirmation of life and in so doing define themselves as one of the masterpieces of twentieth-century printmaking. The etchings for the Dead Souls were executed between 1923 and 1927 and printed in 1927; the sheets were stored in Ambroise Vollard's warehouse until he could publish them, but unfortunately his own death in an automobile accident and Chagall's flight from German-occupied France kept them hidden until Teriade and Chagall published them in 1950. Les Ames Mortes was issued in an edition of 285 on velin d’arches, the first 50 containing a suite on japon, and 33 artist’s proofs hors commerce. All of the portfolios were signed by the artist. Many of the plates are signed in the plate. There are no pencil-signed impressions of the pieces in the edition (though we have recently acquired a signed trial proof–"assai"–of a state prior to the final version. All etchings with full margin in very good+ or better condition Select Bibiliography of Chagall's Prints: Franz Meyer, Marc Chagall: His Graphic Work (NY: Abrams, 1957; Meyer was Chagall's sson-in-law and author of the massive Life and Works which is still the standard catalogue raisonné of Chagall's paintings); Sylvie Forestiere, ed. Marc Chagall: L'oeuvre gravé (Nice: Musée National Message Biblique Marc Chagall, 1987; abbrev. Nice 1987); Jean Adhemar, Chagall: L'oeuvre gravé (Paris: Bibliothèque National, 1970; abbrev. BN 1970); Irina Antonova, et al, Chagall Discovered From Russian and Private Collections (NY: Levin Associates, 1988; abbrev. Moscow, 1988); Ernst-Gerhard Güse, Marc Chagall Druckgraphik(Westfalen: Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, 1985); Udo Liebelt, ed. Marc Chagall Druckgraphische Folgen 1922-1966 (Hannover: Kunstmuseum Hannover, 1981; abbrev. Hannover); Roger Passeron, Mâitres de la gravure: Chagall (Paris: Bibliothèque des Arts, 1984); Charles Sorlier, Marc Chagall et Ambroise Vollard: Catalogue Complet des gravures exécutées par Marc Chagall á la demande de Ambroise Vollard (Paris: Editions Galerie Matignon, 1981).

La soirée chez le gouveneur / Evening fête at the Governor's house (Sorlier 5, Hannover 43). Original etching with drypoint, 1923-27. 335 unsigned impressions + 33 HC. No pencil-signed impressions exist. Inclulded in the 1970 BN show. Image size: 223x287mm. Price: $5000.

Selifan (Sorlier 7, Hannover 45). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Chagall's etchings for Gogol's Dead Souls are among his earliest etchings. They are also some of his finest. Illustrated in Meyer'sChagall's Graphic Works, Wesfalen 1985, Nice 1987, and the 1987 Moscow Chagall exhibition. Selifan is a rather rascally figure who believes in self-indulgence and would rather party than work. Image size: 221x286mm. Price: $5000.

On the way to Sobakevich's (Sorlier 8, Hannover 46, ). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Illustrated in Meyer's Chagall's Graphic Works, BN 1970, the 1987 Moscow Chagall Exhibition and Nice 1987. Image size: 219x287mm. Price: $6000.

Repas chez Manilov / Dinner at Manilov's house (Sorlier 9, Hannover 49). Original etching with drypoint, 1923-27. 335 unsigned impressions + 33 HC. No pencil-signed impressions exist. Inclulded in the 1970 BN show. Image size: 223x287mm. Price: $5000.

Tchitchikov's farewell to Manilov (Sorlier 12, Hannover 51). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No hand-signed impressions exist. Illustrated in Meyer,Chagall: His Graphic Works, Wesfalen 1985, and in the 1987 Moscow Chagall Exhibition. Image size: 218x284mm. Price: $5500.

Madame Korobotchka (Sorlier 18, Hannover 54). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Illustrated in the Bibliotheque National show of Chagall's graphics; illustrated in Meyer, Chagall's Graphics, and Passeron,Maitres de la Gravure: Chagall. Image size: 285x212mm. Price: $5000.

The house painters (Sorlier 22, Hannover 62). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. Signed in the plate right-center bottom. No pencil-signed impressions exist. Illustrated in Passeron, the Philadelphia Museum/Royal Academy catalogue, BN 1970, and the 1987 Moscow Chagall exhibition. Image size: 277x218mm. Price: $6000.

Nozdriov (Sorlier 23, Hannover 61). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Included but not illustrated in the B.N. 1970 exhibition of Chagall's graphics, illustrated Nice 1987, and Moscow 1987. Image size:280x215mm. Price: $5500.

Spaightwood Galleries, Inc.

艾森豪紀念堂的爭端

We Still Like Ike

By Post Editorial Board

August 2, 2014 | 5:20am

Modal Trigger

A model image of the proposed Dwight D. Eisenhower Memorial.Photo: AP

It’s been 15 years since a federal commission began planning a memorial in the nation’s capital to Dwight Eisenhower. That’s nearly twice as long as his presidency.

Yet, as a new congressional report discloses, after $41 million in taxpayer funds, instead of a memorial we have mismanagement, skyrocketing cost overruns and a design process flawed from the outset.

New Yorkers know the feeling. The same architect at the heart of the Ike memorial, Frank Gehry, is the guy who first designed Ground Zero’s now-stalled Performing Arts Center. Meanwhile, his fellow star architect, Santiago Calatrava, gave us the nearby PATH station boondoggle that came in years behind schedule and, at $4 billion, double the original price tag.

Ike’s memorial has its own problems. Gehry’s design, for example, ignores Ike’s achievements as both general and president, focusing instead on his description of himself as “a barefoot boy from Kansas.”

After Eisenhower’s family objected, Gehry — who’s already been paid $16.4 million — modified his design. Yet there is still no construction-ready approved plan. In fact, construction is actually barred until all necessary funding is in hand.

Which raises an unresolved question: Will taxpayers end up with the bill?

Certainly, Ike deserves enshrinement along with such immortals as Washington and Lincoln. But Eisenhower doesn’t need a memorial for a legacy. His legacy is all around us, in those lives lived in freedom because he defeated Hitler and brought a truce to Korea.

Pity that a memorial in his name would obscure rather than enhance these historic achievements.

作家：	胡汝森
性別：	男
籍貫：	廣東新會
出生日期：	1919年
來臺時間：	1945年
生或卒：	已故
辭世時間：	1980年4月28日
學經歷：	胡汝森原僑居於馬來西亞，抗戰前返回中國，投考軍校。曾主編《文星》雜誌及《國語日報》科學版，曾任職於聯經出版公司、衛康隱形眼鏡公司總經理等。
文學風格：	胡汝森的創作文類有散文及小說。文章論事冷靜、條理清晰。亦有詩作發表，內容直抒心中所感，用語滿懷悲憫。 1. 參加國際版權組織的商榷  胡汝森   聯合報   民68.05.12   頁12  2. 拓寬「書評書目」的道路  胡汝森   書評書目   79   民68.11   頁4-12  3. 拓寬「書評書目」的道路  胡汝森   書評書目   79   民68.11   頁4-12  4. 一本出奇的劣書(廣東風物)  胡汝森   書評書目   75   民68.07   頁54-60  5. 再談「一本出奇的劣書」(左秀靈編著的廣東風物)  胡汝森   書評書目   77   民68.09   頁78-84  6. 鴉片戰爭中臺灣之防衛精神  胡汝森   民主呼聲   21/27 民47.05-07   頁3  7. 副刊編輯的四充和不充  胡汝森   書評書目   66   民67.10   頁8-19  8. 殷海光死在起跑線上  胡汝森   新夏   7   民59.01   頁44-49