Portrait of Baroness Elisabeth Bachofen-Echt《伊丽莎白·巴霍芬-埃希特男爵夫人肖像》

Elisabeth Bachofen-Echt was the daughter of August and Serena Lederer， Gustav Klimt’s most important patrons. The family’s collection eventually grew to include some fifteen canvases by the artist， among them an 1899 portrait of Serena—described by those who knew her as the best-dressed woman in Vienna—and a 1915 painting of her mother， Charlotte Pulitzer， a relation of Joseph Pulitzer， founder of the famous prize for writing1. Elisabeth was twenty years old in 1914， when Klimt began the preparatory studies for the portrait he would complete some two years later.

伊丽莎白·巴霍芬-埃希特是古斯塔夫·克里姆特最重要的赞助人奥古斯特·莱德雷尔和塞丽娜·莱德雷尔夫妇的女儿。莱德雷尔家藏品众多，最终收藏的克里姆特的油画约有15幅，其中包括1899年塞丽娜的肖像——那些认识塞丽娜的人都说她是维也纳最会穿衣的女人——和1915年塞丽娜母亲夏洛特·普利策的画像，夏洛特是那个著名写作奖项的创始人约瑟夫·普利策的亲戚。1914年，伊丽莎白20岁，克里姆特开始准备为她创作肖像，大概两年后才完成。

In almost all Klimt’s late portraits， he chose a standing pose and used a “horizon-line” approach to divide the background into two planes. In the Bachofen-Echt portrait， the line of demarcation2 is lower， so that the illusion of a landscape setting is diminished， though as in Klimt’s landscapes， the horizontal and vertical planes can easily be read as two perfectly flat bands of color.

在晚期创作的所有肖像画中，克里姆特几乎都选择了以站姿呈现人物，并通过添加“水平线”将背景分成两个平面。在巴霍芬-埃希特的这幅肖像中，这条分界线画得较低，观者因而不太可能把背景错看成某处风景，不过，就像在克里姆特的风景画中，水平和垂直的平面会很容易被看成两条完全平整的色带。

Elisabeth’s stance is echoed by a triangular configuration similar to that in the Primavesi painting3， but this shape is here placed against the back wall rather than on the floor， so that any feeling of perspectival distance it may create is automatically cut short， snapped back to the foreground by the woman’s face， which forms the triangle’s apex. Like the Primavesi portrait， this one amply evidences the artist’s ability to manipulate space in order to enhance his sitter’s presence.

伊丽莎白的站姿也采用了与普里马维西那幅画类似的三角结构，但这次背衬三角的是后墙而非地板，所以观者可能感受到的任何视角距离都被自动缩短，作为三角顶点的女子面庞会将观者目光迅速拉回前景。与普里马维西的肖像一样，伊丽莎白的这幅肖像充分表明了克里姆特拥有杰出的空间掌控力，能够增强所画对象的存在感。

The use of concrete oriental motifs—which were to become increasingly pronounced in Klimt’s subsequent work—was an important innovation in the Bachofen-Echt picture. The influence of the Orient in compositions such as Judith and the Head of Holofernes has already been noted. What distinguishes the later work is the extraction of isolated pictorial elements and their adaptation to Klimt’s own idiosyncratic4 ends.

使用具象的东方图案是这幅肖像画的一大创新——在克里姆特后来的作品中，东方元素变得愈加明显。《朱迪斯与赫罗弗尼斯的头颅》等早期作品中就体现出了东亚的影响，那时已经引起人们注意。后期作品的不同之处在于，克里姆特选取了孤立的图像元素用于达成自己独特的艺术目标。

1指普利策奖（The Pulitzer Prizes）。该奖是根据美国报业巨头约瑟夫·普利策（Joseph Pulitzer）的遗愿于1917年设立的，后发展为美国新闻界的最高奖项。目前普利策奖包括14项新闻类奖项和7项创作类奖项。

2 demarcation划分，界限。  3指克里姆特的画作《玛达·普里马维西肖像》（Portrait of Mäda Primavesi），约作于1912年，目前藏于美国大都会艺术博物馆。  4 idiosyncratic个人特有的，独特的。