ABSTRACT Most eighteenth- and nineteenth-century portrait paintings have eyes staring outward at the beholder. A minority of these eyes have slightly elevated pupils in comparison to the iris. These off-centre pupils are not the norm, but they occur regularly in works by skilful European portrait painters in the eighteenth and nineteenth centuries. This article takes a closer look at selected portrait paintings by Danish artists Jens Juel and Constantin Hansen and argues that the discrepancy between the pupils and the rest of the paintings creates an illusion of movement or presence when looking the paintings in the eye. The discrepancy creates an aesthetic effect corresponding with Merleau-Ponty’s concept of internal discordance. According to Merleau-Ponty, visual art can create the illusion of movement by portraying its parts in different moments. These internal discordances make the painting “move” because the beholder unconsciously creates a fictive link between the parts thereby expanding time in space. The article combines presence theory (Jean-Luc Nancy and Hans Ulrich Gumbrecht), phenomenology (Merleau-Ponty) and art theory and perception theory (James Elkins, Dominic McIver Lopes and Michael Fried) in order to study the effects and possible reasons for creating pupils out of sync with the rest of the painting.

中文翻译：

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动眼：肖像画中偏心学生的审美效应

摘要大多数18世纪和19世纪的肖像画的眼睛都向外注视着情人。与虹膜相比，这些眼睛中的少数瞳孔略微升高。这些偏心的学生不是常态，但在18世纪和19世纪，熟练的欧洲肖像画家的作品中经常出现这种情况。本文仔细研究了丹麦艺术家Jens Juel和Constantin Hansen精选的肖像画，并指出，小学生和其余绘画之间的差异会导致人们在眼中观看这些绘画时产生动感或存在感的幻觉。差异产生了与Merleau-Ponty的内部不和谐概念相对应的美学效果。根据Merleau-Ponty所说，视觉艺术可以通过在不同时刻刻画运动的部分来创造运动的错觉。这些内在的矛盾使绘画“动起来”，因为旁观者不知不觉地在各部分之间建立了虚构的联系，从而扩大了空间的时间。这篇文章结合了存在论（Jean-Luc Nancy和Hans Ulrich Gumbrecht），现象学（Merleau-Ponty）以及艺术理论和知觉理论（James Elkins，Dominic McIver Lopes和Michael Fried），以研究影响和可能产生的原因学生与其余绘画不同步。