In the eighteenth century, the study of the great masters was considered an indispensable part of an artist’s education. Had they searched for a specific artist to illustrate this tenet, the theorists of the day could hardly have found a better example than Carl Gustaf Pilo (–), a Swedish artist who became a successful portrait painter in the service of the Danish court and aristocracy. The pattern of Pilo’s artistic development and the ups and downs of his career are also an unusually clear demonstration of how much the arts were part of the politics and power struggles of the time. Pilo’s life and times are vividly described and analysed in Charlotte Christensen’s beautifully illustrated book Drømmebilleder (Dream Images), the first monograph on the artist to appear in over a century. Very few documents by Pilo’s own hand survive, and none of these concerns his work as an artist. Apart from a few drawings, made towards the end of his life, we find practically no traces of his personal life in his art – with the exception of a small portrait of his wife (Nationalmuseum, Stockholm). The most important source for Pilo’s life and career remains the memorial written after his death by the Secretary of the Swedish Royal Academy of Art, Thure Wennberg (– ), and published in . Wennberg knew Pilo, and his text is presumably to a large extent based on information from the ageing artist, though it is far from a complete biography and remains unclear on several points. Charlotte Christensen returns to Wennberg’s memorial throughout her book, using it as a structural core for her discussion of the artist’s life and career. The author then situates Pilo’s achievements in a wide historical, art historical and theoretical context. Starting with the career of Pilo’s father, Olof Pilo, she takes the reader from the artistic endeavours of late seventeenth-century Sweden to the poverty-stricken countryside of Pilo’s childhood, his difficult early years in Stockholm, his rapid rise to success in Copenhagen and at the court of Frederik V, and his even more dramatic disgrace, caused by a growing nationalism and court intrigues, and finally back to Sweden and the artistic life of the capital under the rule of Gustav III. Olof Pilo (–) had worked as a decorative painter at court, but was not able to find work during the hard times of the early eighteenth century, and instead turned to farming. After receiving his first training from his father, Carl Gustaf Pilo was taken on as an apprentice by the master painter Christopher Christman the elder (d. ) in . Christenson shows that he was still in the Christman household in , and he

中文翻译：

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Drømmebilleder。卡尔·古斯塔夫·皮罗斯（Carl Gustaf Pilos）

在18世纪，对大师的研究被视为艺术家教育中不可或缺的一部分。如果他们寻找特定的画家来说明这一宗旨，那么今天的理论家几乎找不到比瑞典画家卡尔·古斯塔夫·皮洛（Carl Gustaf Pilo，–）更好的榜样了，他是瑞典的一位成功的肖像画家。丹麦法院和贵族的服务。皮洛（Pilo）的艺术发展模式以及他事业的起起落落也非同寻常地清楚地表明了艺术是当时政治和权力斗争的一部分。夏洛特·克里斯滕森（Charlotte Christensen）精美插图的《Drømmebilleder（Dream Images）》一书生动地描述和分析了皮洛（Pilo）的生活和时代，这是一个世纪以来第一本有关该艺术家的专着。皮洛（Pilo）亲手制作的文件很少保存下来，这些都与他作为艺术家的作品无关。除了在他生命的尽头创作的几幅画外，我们几乎看不到他个人生活中的任何痕迹-除了他的妻子的一幅小肖像（斯德哥尔摩国家博物馆）。纪念皮洛生活和事业的最重要资料仍然是由瑞典皇家艺术学院院长图尔·温伯格（Thure Wennberg，written–）所写的纪念碑，并于中出版。温伯格知道皮洛（Pilo），他的文字大概在很大程度上是基于这位老龄艺术家的信息，尽管它远非完整的传记，而且在几点上仍不清楚。夏洛特·克里斯滕森（Charlotte Christensen）在整个书中都回到了温伯格的纪念馆，并将其作为她讨论艺术家的生活和职业的结构核心。然后作者将皮洛的成就置于广泛的历史，艺术历史和理论背景下。从皮洛（Pilo）父亲奥洛夫·皮洛（Olof Pilo）的职业生涯开始，她将读者从17世纪末瑞典的艺术创作带到了皮洛童年的贫困乡村，他在斯德哥尔摩的艰难岁月，在哥本哈根和哥本哈根的成功迅速崛起。在弗雷德里克五世（Frederik V）的宫廷中，他的戏剧性耻辱是由日益增长的民族主义和宫廷阴谋引起的，最终回到瑞典和古斯塔夫三世统治下的首都艺术生活。奥洛夫·皮洛（Olof Pilo）（–）曾在法院担任装饰画家，但在18世纪初期的艰难时期找不到工作，而是转向耕种。从父亲那里接受了第一次培训之后，卡尔·古斯塔夫·皮罗（Carl Gustaf Pilo）由的老年画家克里斯托弗·克里斯特曼（Christopher Christman）担任学徒。克里斯汀森（Christensson）表示，他仍在the的克里斯曼（Christman）家中，他