Vermeer
A woman glances at you over her shoulder, wearing a headscarf and a pearl earring. Sound like a familiar image? Unlike the famous Vermeer painting, the woman pictured is not a girl. In fact, she’s decades beyond the phase of girlhood in her own life.
一位女士戴著頭巾和珍珠耳環(huán)，側(cè)過肩膀看你。這幅畫面是不是很熟悉呢？跟弗米爾的著名畫作不同的是，圖片中的這位女士并非妙齡少女。實(shí)際上，她的少女時(shí)光已經(jīng)過去幾十年了。
Laura Hofstadter is the artist behind paintings, in which she recreates famous artworks featuring herself as the subject. At the age of 65, she has returned to photography, a passion she pursued in college but left behind when she devoted herself to raising a family and dealing with her own health issues.
勞拉·霍夫施塔特可謂是一位名畫背后的藝術(shù)家，她以自己為主角再造了那些著名的畫作。65歲高齡之下，她重拾攝影這門技術(shù)，這是她在大學(xué)期間曾經(jīng)酷愛的事業(yè)，后來由于投身到家庭和個(gè)人健康的問題中曾不得不放棄。
Hofstadter explained that it consisted of set design and staging in her house or backyard, the “costume”
selection from her existing wardrobe, and, of course, “acting” the part.
霍夫施塔特解釋說，為了創(chuàng)作這些畫作，她首先要在自己屋里或后院里設(shè)計(jì)并擺放布景，從自己現(xiàn)有的衣服中選擇“戲服”，當(dāng)然，還有扮演畫中的角色。
1.Vermeer
《戴珍珠耳環(huán)的少女》
聲明：本雙語文章的中文翻譯系滬江英語原創(chuàng)內(nèi)容，轉(zhuǎn)載請注明出處。中文翻譯僅代表譯者個(gè)人觀點(diǎn)，僅供參考。如有不妥之處，歡迎指正。
Degas
2.After Degas
德加之后（《咖啡館的女歌手》）
Viewing Hofstadter's version of a recognizable work -- seeing her thin wrinkles instead of supple, youthful skin -- can be disharmonious, which is something that Hofstadter not only recognizes but welcomes.
霍夫施塔特版本的名畫可能并不是那么迷人，因?yàn)閳D片中看到的不是豐滿又年輕的肌膚，而是細(xì)細(xì)的皺紋。但她不僅早已認(rèn)識(shí)到這些事實(shí)，而且已經(jīng)坦然接受。
Munch
3.After Da Vinci
達(dá)芬奇之后（《蒙娜麗莎》）
Besides being susceptible to time and aging, human bodies are also open to illness. Hofstadter wanted to explore that theme in her work, specifically her own experience of being diagnosed with breast cancer at the age of 45.
除了容易遭受時(shí)間和衰老的傷害外，人體還會(huì)招致疾病的困擾。她想在作品中探索這一主題，尤其是她在45歲時(shí)被診斷出乳腺癌的經(jīng)歷。
Da Vinci
4.After Da Vinci
達(dá)芬奇之后（《蒙娜麗莎》）
“When I look at these, I feel self-conscious. I am what I am -- I don’t care what people think anymore, and there’s a liberation in that.”
“當(dāng)我看這些作品時(shí)，我感受到更多的是自我意識(shí)——我不再關(guān)心人們的看法，我已經(jīng)從中解放?！?/div>
Leyster
5.After Leyster
萊斯特之后（《朱迪思·萊斯特肖像》）
“In our society, as women get older and get to my age and beyond, they become invisible,” Hofstadter told.
“社會(huì)上，隨著女性的衰老和年紀(jì)增大，她們正在被無視，” 霍夫施塔特說。
After Watteau
6.After Watteau
華多之后（《彈吉他的梅茲坦》）
"So I liked the idea of forcing people to look at a 65-year-old woman by inserting myself into a classic image." She said.
“所以我要把自己融入到經(jīng)典名畫中，以此強(qiáng)迫人們?nèi)リP(guān)注一個(gè)65歲的女性。”她說。
Picasso
7.After Picasso
畢加索之后（《喝苦艾酒的人》）
“It’s clear in our society there’s an incredible focus on youth and a certain standard of beauty ,and that’s very limited.” She said.
“顯而易見，我們的社會(huì)總是過于關(guān)注年輕和美麗，這太狹隘了?！彼f。
