Abstract:

This article explores the Paris Commune's conflicted legacy in fin-de-siècle France through a set of portraits by the Franco-Swiss artist Félix Vallotton. In 1897 the critic and anarchist Félix Fénéon published a questionnaire about the Commune in La Revue blanche with responses from a wide range of surviving participants and eyewitnesses. Vallotton supplemented these reflections with drawings of leaders, many of whom were long dead, from both sides of the barricades. These portrait heads, and their placement vis-à-vis the text, capture the complexity of the Commune's ideological afterlife in deceptively simple form, showing Vallotton's keen sensitivity to the political debates and uncertainties of his time. Like many of the artist's politically charged prints published throughout the 1890s, these portraits convey profound ambivalence about the relationship between the Parisian people and the state.

摘要：

本文通过法国瑞士艺术家费利克斯·瓦洛顿（FélixVallotton）的一组肖像，探讨了巴黎公社在法国末尾冲突的遗产。在1897评论家和无政府主义费利克斯·芬翁在发表了关于公社问卷香格里拉歌剧团布兰奇幸存的参与者和目击者的回应。瓦尔洛顿从路障的两侧补充了领导人的图画，这些图画中的许多人已经逝世了，他们对此做出了补充。这些肖像头像以及它们相对于文字的位置，以看似简单的形式捕捉了公社意识形态来世的复杂性，显示了瓦洛顿对政治辩论和当时不确定性的敏锐敏锐。就像艺术家在1890年代出版的许多带有政治色彩的版画一样，这些肖像传达出对巴黎人民与国家之间关系的深刻矛盾。