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Italian to English: Gustave Guillaumet: between painting and writing General field: Art/Literary
Source text - Italian Messi a confronto con le opere pittoriche e con il contesto espositivo delle Expositions e dei Salons, i testi pubblicati si inquadrano nell’ottica della narrazione di un percorso di appropriazione del territorio nordafricano che si pone in diretta continuità con l’impresa coloniale, ma anche con il tentativo, seppur solo accennato, di comprensione dell’elemento umano. I critici francesi risposero in modo ambivalente e spesso contraddittorio all’opera pittorica di Guillaumet. Accanto agli apprezzamenti positivi di personaggi quali Théophile Gautier e Paul de Saint-Victor, sono da rilevare i commenti, quanto meno perplessi di Paul Pierre, che, nel 1868, considera Désert un quadro dal soggetto impossibile “sans raison d’être”, una vera e propria “fantasmagorie” che costituirebbe il “résultat d’une habilité rare autant que stérile”. L’orientalismo realista all’interno del quale si muove la ricerca pittorica di Guillaumet, trova la sua eco all’interno dei testi in cui la descrizione della vita nordafricana mette insieme scene prese dall’immaginario europeo sul Nord Africa (carovane, arabi in preghiera, descrizioni di razzie) a ricerca di immagini inconsuete (i cani abbandonati, il lavoro sui campi, i poveri). Nell’ambito della nostra ricerca, particolare interesse assume il capitolo XXII, consacrato alla visita di un caïd a Parigi, in occasione dell’Esposizione universale del 1867. Se gli altri capitoli costituiscono, tra le altre cose, uno specchio rifrangente delle preoccupazioni pittoriche di Guillaumet (studio della luce, con ricerca dell’ombra o, quanto meno, di una solarità soffusa e non accecante, e ambientazioni in cui quotidianità e pittoresco si incrociano), la scena parigina assume connotazioni ironiche e paternalistiche.
Translation - English In light of his pictorial works and the expositional context of the Expositions and the Salons, the published texts are situated within a narrative of the process of appropriation of the North African territory; it is in direct continuity not only with the colonial enterprise, but also with the attempt, albeit nominal, to understand the human element of it. The French critics answered in an ambivalent and often contradictory manner to Guillaumet’s pictorial works. Alongside positive appraisal from figures such as Théophile Gautier and Paul de Saint-Victor, Paul Pierre’s comments - perplexed, to say the least - are relevant here. In 1868, he considered Désert a painting of the impossible subject “sans raison d’être”, a true “fantasmagorie”, that would constitute the “résultat d’une habilité rare autant que stérile”. The realist orientalism about which Guillaumet’s pictorial pursuit revolves is echoed by the texts, which, in pursuit of unusual images (abandoned dogs, work on the fields, the poor), describes North African life by piecing together scenes extracted from the European imaginary of North Africa (caravans, Arabs in prayer, descriptions of raids). Consecrated to the visit of a caïd in Paris, on the occasion of the International Exposition in 1867, Chapter XXII is of particular interest to the scope of our research. If the other chapters constitute, amongst other things, a refractive mirror of Guillaumet’s pictorial concerns (study of light, alongside the investigation of shadow, or at the very least, of a suffused, non-blinding luminosity, as well as settings in which the everyday and the picturesque intersect), then the Parisian scene assumes ironic and paternalistic connotations.
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Translation education
Bachelor's degree - University College London
Experience
Years of experience: 9. Registered at ProZ.com: Mar 2017.
Italian to English (American Translators Association)
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N/A
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Microsoft Excel, Microsoft Office Pro, Microsoft Word, Powerpoint, Subtitle Editor, Wordfast
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CV available upon request
Bio
I'm currently a PhD student in Italian Language and Literature. My first degree is in Italian and German, and I grew up bilingual in English and Mandarin. Having lived in both the US and UK, I am very comfortable working in either US and UK English. My translations are the result of a rigorous process towards understanding and conveying meaning, tone, and style.
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