cover - self-portrait with flashbulbs, 1951 ·...
TRANSCRIPT
香港 般咸道九十號 香港大學美術博物館 徐展堂樓一樓
星期一至六 上午九時三十分至下午六時，星期日 下午一時至六時 | 大學及公眾假期休息
免費入場 | 電話：2241 5500 | www.umag.hku.hk
1/F T.T. Tsui Building, University Museum and Art Gallery, HKU, 90 Bonham Road, HK Monday to Saturday 9:30 am – 6:00 pm, Sunday 1:00 pm – 6:00 pm | Closed on University and Public HolidaysFree Admission | Tel: 2241 5500 | www.umag.hku.hk
Cover - Self-portrait with Flashbulbs, 1951封面 - 以閃光燈拍攝的自拍照，1951 年
BNP Paribas is proud to have been a supporter of Le French May since its very first edition in 1993. We are again honoured to help bring together France and Hong Kong’s rich and diverse layers of cultural heritage.
This year we are sponsoring an exhibition dedicated to world-renowned French photographer Willy Ronis. As one of the last representatives of the French humanist school of photography, his best-known works are micro-narratives that capture the simple pleasures of everyday life in post-World War II Paris. Today, these images are considered iconic within the history of photography. His photographs are often light-hearted, humour-filled and full of compassion.
The University Museum and Art Gallery (UMAG) of The University of Hong Kong, the oldest continuously-operated museum in Hong Kong, is a wonderful venue for this exhibition. The museum at HKU focuses on artistic and cultural experiences that are accessible to people from all walks of life. Based on its history of developing shows of Chinese, contemporary and western art, UMAG is the perfect venue for this exhibition.
BNP Paribas’ commitment to investing across the arts represents a more than 30-year legacy. The longevity of our partnership with Le French May Arts Festival shows not just our commitment to the Festival, but to the wider community. At BNP Paribas, arts and culture matter. The sponsorship of Le French May is a powerful way to nurture this growth and we look forward to continuing this longstanding tradition.
We hope this exhibition provides an inspiring cultural experience for the Hong Kong community, encourages further exploration of the arts and, more specifically, of the world of photography.
PAUL YANG HEAD OF GREATER CHINA AND CHIEF EXECUTIVE OFFICER, HONG KONG BNP PARIBAS
Photography is one of the last century’s major
art forms, but relatively few shows of
photographic works have been presented in
Hong Kong. We are therefore particularly proud
and delighted to present—along with The
University Museum and Art Gallery of The
University of Hong Kong and Alliance Française
de Hong Kong—such a meaningful exhibition of
images from the French artist Willy Ronis.
A witness to life in post-war France, Ronis used
the photographic medium as a tool—both
artistic and political—to capture the beauty of
life and the magic of everyday moments. His
photographs celebrate the grandness of simple
things and the eternity found in routine actions.
The images give power and presence to the
less privileged classes of society and then
elevate them through the lens of the artist.
With a selection of over one hundred artworks,
the exhibition is a black-and-white voyage back
in time to Paris, France and Venice, Italy. It
invites viewers to rediscover some of the
world’s most famous monuments—scenes made
iconic by Ronis—as well as many lesser-known
corners and niches of these cities.
Through his photographs, Willy Ronis quietly
participated in creating a new genre, paving the
way for many after him, and becoming a major
influence in the world of contemporary
photography. We are particularly grateful to the
Jeu de Paume and the exhibition curators for
offering us such a large and in-depth view of
the artist’s original prints. We could not have
imagined a better venue for this exhibition than
HKU’s University Museum and Art Gallery. The
museum is both a place of heritage and
modernity, offering a perfect canvas for the
pure and vivid photographs of Willy Ronis,
while infusing the exhibition with its own
history and unique architecture.
法國巴黎銀行很高興自1993年首屆法國五
月推出以來，一直作為其支持者。我們很榮
幸能再次與大會攜手把法國和香港豐富多
樣的文化遺產匯集在一起。
今年，我們贊助舉辦世界著名法國攝影師
維利．羅尼的展覽。維利．羅尼是法國人文
主義攝影學院的最後代表之一，其照片以
微觀敘事聞名，捕捉第二次世界大戰後巴
黎日常生活的簡單樂趣。今天，這些圖像被
視為攝影史上的標誌。羅尼的攝影風格往
往輕鬆愉快，充滿幽默感並富有同情心。
香港大學美術博物館是香港現存歷史最悠
久的博物館，致力為各界人士發掘不同的
藝術文化體驗。該館多年來曾展示中國、當
代和西方藝術品，是為本展覽場地的不二
之選。
法國巴黎銀行在藝術領域的投資承諾已有
30多年的歷史。這長久的合作夥伴關係不
僅顯示著我們對法國五月藝術節的承諾，
也體現我們對更廣闊的藝術領域的支持。
法國巴黎銀行關注藝術和文化事務，贊助
法國五月藝術節則有助培育我們於此領域
的成長，我們期待延續這一項悠久的傳統。
我們期望這個展覽能為香港社會提供啟發
性的文化體驗，鼓勵大眾更進一步探索藝
術，尤其是攝影。
楊伯豪
法國巴黎銀行大中華區負責人及香港分行
行政總裁
攝影是上世紀的主要藝術形式之一，但在
香港舉辦的攝影展覽數目卻相對較少。故
此，我們非常榮幸能夠與香港大學美術博
物館、及香港法國文化協會攜手舉辦此意
義非凡的法國藝術家維利．羅尼攝影展。
羅尼親身見證法國戰後的發展，以攝影媒
介為藝術與政治工具，捕捉人生的美好和
日常點滴的魅力。他的照片歌頌平凡事物
之壯麗，平淡生活之永恆。這位藝術家用
攝影鏡頭賦予社會低下階層力量與存在
感，提升他們的地位。
本展覽精選超過一百幀黑白照片，創造一
趟漫遊舊日法國巴黎和意大利威尼斯的時
光之旅。我們邀請觀者在旅程中重新發掘
那些因羅尼的鏡頭而成為經典、舉世聞名
的名勝古蹟，並兩個城市內較鮮為人知的
角落與地區。
維利．羅尼通過自己的攝影作品，悄悄地
創造出一種嶄新的風格，為往後的攝影師
開闢道路，對當代攝影世界影響深遠。我
們衷心感激巴黎國立網球場藝術館和策
展人們籌劃規模龐大而深入詳盡的藝術家
原始照片展覽。我們想像不到除香港大學
美術博物館外，哪兒會是更適切的展覽場
地。香港大學美術博物館集古蹟與現代建
築於一身，它就像一塊畫布，在完美呈現
維利．羅尼純正而栩栩如生的攝影作品的
同時，為此展覽注入其歷史和與眾不同的
建築。
Fo
rewo
rd 序言
Fo
rew
ord
序言
自1953年創立至今，香港法國文化協會一
直致力推廣並促進跨文化對話與交流。我
們非常榮幸能於第27屆法國五月藝術節，
與香港大學美術博物館攜手呈獻以世界知
名的法國攝影師維利．羅尼為主題的攝影
展覽「維利．羅尼的攝影之旅 — 從巴黎走
到威尼斯」。
本攝影展展示法國攝影師維利．羅尼最著
名的照片，也包括一些鮮為人知的作品。
這是香港法國文化協會、香港大學美術博
物 館與巴 黎國立 網 球 場藝 術 館、法國文
化部建築及文化遺產媒體中心及 Boogie
Woogie Photography 通過緊密合作而成的
攝影展覽。
許多維利．羅尼膾炙人口的照片彷如一則
故事，娓娓訴說著男男女女在街頭上的日
常活動。今天，這些影像已成為攝影史上
的經典畫面，與其說是攝影師使之成永垂
千古的特定時刻，倒不如說是傳達著代表
人文理想的特定方式。從他拍攝的照片和
寫下的文字可見，這位攝影師熱切探索世
界，觀察身邊人事，耐心等待適當的時機
浮現。對羅尼而言，攝影是接收影像，而不
是尋覓影像；是吸納周遭的環境而非捕捉
外界的事物，是把吸收進來的東西轉化為
自己要說的故事。
我們誠邀你來參與這次攝影藝術探索之
旅，一同欣賞世界知名法國攝影師維利．羅
尼的精彩照片。
倪德祈先生
香港法國文化協會主席
Since its establishment in 1953, Alliance
Française de Hong Kong has been dedicated to
fostering and promoting intercultural dialogue
and exchange in Hong Kong. It is truly our
pleasure to co-present this exhibition of Willy
Ronis entitled From Paris to Venice, A Photographic Journey by Willy Ronis with The
University Museum and Art Gallery of The
University of Hong Kong, in celebration of the
27th edition of Le French May Arts Festival.
The exhibition showcases a fascinating
selection of both Willy Ronis’ most well-known
and rarely-seen photographs, which is a result
of a fruitful partnership between Alliance
Française de Hong Kong; the University
Museum and Art Gallery; Jeu de Paume, Paris;
the Médiathèque de l’architecture et du
patrimoine, Ministry of Culture, France; and
Boogie Woogie Photography.
Many of Ronis’s best-known photographs are
narratives built upon men and women taking
part in everyday activities. Today these images
translate into a particular way of representing a
utopian humanistic vision, rather than simply a
specific moment in time immortalised by the
photographer. In his photographs and texts, we
discover an artist keen to explore the world,
observing all those around him and patiently
waiting for the right moment to reveal itself.
For Ronis, the art of photography was about
receiving images rather than looking for them,
absorbing the surrounding environment rather
than capturing it and using this information to
create his own narrative forms.
From Paris to Venice is an invitation to embark
on a photographic journey in order to explore
masterpieces by one of the most internationally
famous French photographers.
MR. EDOUARD ETTEDGUI PRESIDENT OF THE ALLIANCE FRANÇAISE DE HONG KONG
Since the inception of Le French May 27 years
ago, BNP Paribas has accompanied the Arts
Festival on its cultural journey, enabling it to
share with Hong Kong audiences major artists
and works, including Picasso, collections from
the Louvre, and major orchestras and artistic
companies from around France. We are grateful
for the continued support of BNP Paribas, and
for their sponsorship of this unique exhibition.
On this ‘Voyage’ edition of Le French May, we
wish all visitors a meaningful and enjoyable
journey through the eyes of Willy Ronis.
DR. ANDREW S. YUEN CHAIRMAN OF THE BOARD OF LE FRENCH MAY
自27年前法國五月首次舉辦以來，法國巴
黎銀行即與我們的藝術節攜手共渡每一趟
文化旅程，讓我們能與香港觀眾分享重要
的藝術家和藝術作品，包括畢加索、羅浮
宮珍藏、及法國各地的重要管弦樂團和藝
術機構。為此，我們衷心感謝法國巴黎銀
行一直以來的支持，贊助舉辦這個獨一無
二的展覽。
本屆法國五月的主題為 「旅程」，我們祝願
所有觀眾能透過維利．羅尼的雙眼，享受
一段饒富意義與美妙的旅程。
阮偉文博士
法國五月董事會主席
Sèvres-Babylon Crossing, Paris, 1948塞夫爾 - 巴比倫交叉口，巴黎，1948 年
Fo
rewo
rd 序言
Fo
rew
ord
序言
“All the attention is fixed on a unique moment,
almost too good to be true, which can
evaporate in the next second and provokes a
feeling that is impossible to obtain using
staged artifices.”
—Willy Ronis, June 1956
Reporter, industrial photographer and
illustrator Willy Ronis (1910–2009) was one of
the key figures of twentieth-century French
photography. For eight decades, from the 1930s
to the 2000s, he pointed his camera lens at the
French people, criss-crossing the streets of the
capital or the south of the country with a
perpetually-renewed pleasure. A photographer
of joyful happenstance, Ronis captured “slices
of everyday life” of his family and friends, such
as his wife Marie-Anne or his son Vincent, but
also strangers who he came across while taking
a detour through the streets of Belleville. A
member of the Groupe des XV, he vigorously
and passionately defended the profession of
photographer. In 1951, his work gained broader
recognition during an exhibition at the Museum
of Modern Art, where it was shown alongside
works by Cartier-Bresson, Brassaï, Doisneau
and Izis.
A curious polyglot from an early age, Ronis
began travelling beyond France in the 1930s,
visiting countries like Italy, England and the
United States; or photographing the Cold War
in Moscow, Berlin and Prague. The intense
waves of social change at the time made him a
politically committed individual, and he
illustrated the many struggles of his time,
capturing industrial disputes and prisoners of
war returning in 1945. His images of poverty,
picket lines and union militants portray his
solidarity with the working-class struggle and
an active commitment towards those on
society’s margins.
At the end of his career, and still faithful to his
many commitments—to bringing awareness and
「所有注意力都集中在這獨特的一剎那，這
刻美妙得令人難以置信，卻又可在下一秒
轉瞬消逝，喚起一種無法從精心策劃的巧
計中獲取的感覺。」
──維利．羅尼，1956年6月
記 者、工 業 攝 影 師 和 插 畫 家 維 利．羅 尼
(1910–2009) 是二十世紀法國攝影的關
鍵 人 物。從1930年 代 至2000年 代，羅 尼
在這八十個寒暑間始終懷着興奮而期待
的心情，穿梭於首都或國家南部縱橫交錯
的街道，用鏡頭來捕捉法國的人民。羅尼
鍾情於偶遇的快樂，致力捕捉「日常生活
點滴」。他的攝影除了聚焦於家人和摯友
如妻子瑪麗．安娜和兒子文森外，更包括
他在漫步美麗城時邂逅的陌生人。羅尼是
「十五人集團」的成員，對捍衛攝影師的事
業充滿激情和熱誠。1951年，現代藝術博
物館舉辦了羅尼、卡蒂爾 - 布雷松、布拉
塞、杜瓦諾和伊勢的作品展，羅尼的攝影因
而獲得更廣泛的認同。
好奇心重的羅尼自幼精通多國語言，他於
1930年 代 開 始出國 遊 歷，足 跡 遍 及 意 大
利、英格蘭和美國，更拍下了冷戰時期的莫
斯科、柏林和布拉格。當時風起雲湧的社
會改革浪潮塑造羅尼成為一位熱衷於政治
的青年，他以攝影呈現當時的抗爭，捕捉工
業紛爭、並於1945年回國的戰俘。羅尼拍
攝有關貧民、警戒線和工會激進分子的影
像，流露出他對工人階級鬥爭的支持，並對
社會邊緣人士的積極關注與付出。
羅尼在其職業生涯的尾聲，仍然忠於自己
的堅持 ── 喚起社會關注和分享自己作
品 ─ ─ 決定將一生的作品捐贈國家，好
讓自己的攝影作品服務一個更大的社群。
是次展覽的照片由法國文化部建築及文化
sharing his work—he decided to donate his life’s
work to the state, thus placing his images at the
service of the larger community. The
photographic prints in this exhibition are on
loan from the Médiathèque de l’Architecture et
du Patrimoine collection, which houses the
108,000 negatives, 9000 slides, 20,300 prints
and 6 albums of the photographer’s reference
prints, as well as his contact sheets, archives
(diaries, handwritten texts, personal and
professional letters) and library. Ronis always
considered the context in which his works were
reproduced as being crucial, along with the
accompanying notes. Therefore, some of the
most important works on display here are
coupled with comments or quotes from the
photographer, drawn from the six photobooks
that he published beginning in 1985.
Carefully selected from the enormous oeuvre
Ronis left behind, our exhibition offers an
overview of the famous photographer’s work,
the photographic genre he helped to create and
the iconic views and pictorial compositions that
assisted formulating the romantic imagery of
Paris and other places that we hold dear today.
This project is a collaboration between The
University Museum and Art Gallery, Alliance
Française de Hong Kong and the Jeu des
Pomme, a National Museum in Paris. We would
like to thank all of the team members for our
fruitful collaboration and express our gratitude
to the French consulate, BNP Paris and Le
French May for their generous support.
MATTHIEU RIVALLIN AND FLORIAN KNOTHE, EXHIBITION CURATORS
Photographs presented in this exhibition are gelatin silver prints created during Ronis’ lifetime and made to his specifications.
All images, unless otherwise specified: Willy Ronis, Ministère de la Culture / Médiathèque de l’architecture et du patrimoine / Dist RMN-GP © Donation Willy Ronis
遺產媒體中心惠借。法國文化部建築及文
化遺產媒體中心的羅尼攝影作品收藏豐
富，包括108,000張底片、9000張幻燈片、
20,300幀照片、6本參考攝影相冊、接觸影
像索引圖、檔案 ( 日記、手寫文稿、私人和
正式書信 ) 及圖書館。羅尼一直認為被攝
影作品重現的背景脈絡、並隨附的筆記是
至關重要的。因此，本展覽部分重點照片配
有羅尼親撰的評論、或援引他自1985年起
出版的6本攝影集內的文字。
本展覽從羅尼遺留下來數量龐大的作品
中，精心挑選展品，以概述這位名聞遐邇
的攝影師的傑作和他協助創立的攝影風
格，並 那 些有助於 建 構巴 黎並 其他備受
珍視之地的浪漫印象的經典攝影和圖像
構圖。這個展覽項目由香港大學美術博物
館、香港法國文化協會、巴黎國立網球場
藝術館共同策劃。我們衷心感謝所有工作
團隊通力合作，成就豐碩成果；亦感激法
國駐港澳總領事館、法國巴黎銀行和法國
五月的慷慨支持贊助。
MATTHIEU RIVALLIN 及羅諾德
策展人
本展覽所有照片皆是羅尼在世時，按照他的要求
沖印的銀鹽明膠印相。
除另有說明者，所有照片屬法國文化部，維利．羅
尼 / 建築及文化遺產媒體中心 / Dist RMN-GP ©
Donation Willy Ronis
Intr
od
uct
ion 引言
Intro
du
ction 引
言
SOCIAL CHANGE
Willy Ronis, who in 1945 joined the Communist
Party, covered numerous social conflicts,
including the strike at the SNECMA workshops
in Paris and the miners’ protests in Lens and
Saint-Étienne in 1948. His images appeared as
often in the magazine Regards as they did in
Life. Concerned with both the events and their
context, as well as the daily life of working men
and their families, his photos expressed a
sincere empathy for the working class.
Known for his rigour and the quality of the
images, Ronis carried out vital documentation
work at sites, such as the state-owned Renault
factory or the textile industries in the Bas-Rhin.
Whenever he visited any of these workshops,
he would track down scenes that were
“unforeseen, very interesting and impossible to
recreate afterwards,” as in the images of The Forge in Boulogne-Billancourt. In Broken Thread, on the contrary, he re-staged the
evocative gesture of the “harpist,” after having
already photographed her during a previous
visit.
社會變遷
1945年， 維 利 ·羅 尼 加 入 共 產 黨， 報 道
過 眾多社會 衝突事件，包括巴黎 斯 奈克
瑪 工 坊罷 工、及1948年朗 斯 和 聖 埃 蒂安
礦工抗議遊行。羅尼的攝影作品常刊登於
《Regards》 和 《生活》 雜誌。他的作品深切
關注事件及背後的歷史背景，並工人及其
家庭的日常生活，處處流露出對工人階層
真摰的同情。
羅尼以嚴謹的工作態度和優質的攝影作
品見稱。他會在報導事件當地，如國有雷
諾工廠或下萊茵的紡織工業區等進行重要
的記錄工作。無論他何時到訪上述任何一
間工坊，羅尼都會尋找那些 「意料之外、
極其有趣，且於往後無法再次重現」 的場
景，如 〈布洛涅─比揚古的鍛造廠〉 的影
像。不過，在 〈斷線〉 中，羅尼卻是在拜訪
及拍攝一名 「豎琴手」 後，再次重新設定
並拍攝她奏樂時動人的姿態。
Miner Suffering from Silicosis, Lens, France, 1951患上矽肺病的礦工，法國朗斯，1951 年
Rose Zehner, a Union Representative, During the Citroën-Javel Strike, Paris, 1938 雪鐵龍工廠大罷工上，工會代表羅斯．紮赫納，巴黎，1938 年
Lorraine-Escaut Factory, Sedan, France, 1959Lorraine-Escaut 鋼廠，法國色當，1959 年
Île Saint-Denis, North of Paris, 1956聖但尼島，巴黎北部，1956 年
PARIS
Born in Paris, the French capital was Willy
Ronis’ favourite image hunting ground. During
his countless walks, he accumulated
picturesque scenes of busy passers-by, lovers
entwined on public benches or joyful
youngsters at the fairground. Particularly
interested in the evening atmosphere, he also
captured dancers in the cellars of Saint-
Germain-des-Prés. The commissions he took
on brought him face to face with the solitude of
the shanty towns in Aubervilliers or the banks
of the Seine and its barges.
Beginning in the mid-1950s, Ronis published
his photos in works devoted to Paris alongside
other photographers from the Groupe des XV,
such as Robert Doisneau and René-Jacques.
His first solo book, Belleville-Ménilmontant, was devoted to a neighbourhood of Paris still
little photographed at the time. Published by
Arthaud in 1954, it was prefaced by Pierre Mac
Orlan, to whom Ronis suggested that they “go
up together to soak up the atmosphere and
moods of these hotspots.” This critical success
was reworked, expanded and re-edited four
times by Willy Ronis, who continued “haunting
this village” throughout his career.
巴黎
維利 ·羅尼生於巴黎，這個法國首都是他
最愛的拍攝場地。羅尼時常在市內漫遊，
拍攝了許多風景如畫的場景，如步伐急促
的行人、在長凳上緊緊相擁的戀人、或愉
快地在露天遊樂場內嬉戲的年輕人。羅尼
尤其喜愛傍晚的氣氛，故他的鏡頭亦捕捉
了在聖日耳曼德佩區地窖內的舞者。羅尼
的委託工作引領他走訪奧貝維埃的貧民
窟、或塞納河畔及那兒的駁船，親身感受
當地的清冷幽靜。
自1950年代中期起，羅尼與其他 「十五人
集 團」 成 員 如 羅 伯 特 ·杜 瓦 諾、勒 內 - 雅
克開始出版在巴黎拍攝的作品。他的首本
個人相集 《美麗城─梅尼蒙當》 (Belleville-
Menilmontant) 聚焦於巴黎一 個當時仍極
少曝光於 鏡 頭下的街區。該書由阿爾 托
(Arthaud) 出版社出版，並由皮 爾 ·麥 ·奧
爾蘭親撰序言。羅尼表示他與麥 ·奧爾蘭
「一同出走，感受這些喧鬧地方的氣氛」。
這本 相集 非常成 功，羅 尼 隨後再作 過 合
共四次的修訂、內容增添和重編的工作；
這地亦持續成為羅尼職業生涯的攝影靈感
來源。
Lovers of the Bastille, Paris, 1957巴士底廣場的戀人，巴黎，1957 年
Barge Children, 1959在駁船上的孩子，1959 年
Place Vendôme, Paris, 1947凡登廣場，巴黎，1947 年
Little Parisian, 1952巴黎孩子，1952 年
Rue Montmartre, Paris, 1956蒙馬特大街，巴黎，1956 年
Rue Laurence-Savart, Ménilmontant, Paris, 1948勞倫斯瓦特大街，巴黎梅尼蒙當，1948 年
FAMILY AND PRIVATE LIFE
A photographer of “slices of everyday life,”
Willy Ronis’ personal experience was closely
linked to his work. From Paris to Gordes in the
Vaucluse, where the Ronis family had
purchased a house in 1948, Marie-Anne his wife
and Vincent his son, but also his friends,
became his first subjects. His vision of them
was filled with candour and sweetness.
Everyday activities such as a simple game, bath
or siesta provided the photographer with
images that have since become iconic.
From the 1950s to the 1990s, France was the
photographer’s favourite site. An industrial
commission, an assignment for the press or
even a few days on holiday were all perfect
occasions to capture the portrait of a
winegrower sitting at a table or two children
diving from a cargo ship moored in the port of
La Ciotat. Roaming with a perpetually-renewed
pleasure along the banks of the Marne, in
Touraine or the South of France, he
photographed both the difficult moments and
the “happy happenstances” of life with the
same visual acuity.
家庭與私人生活
維利·羅尼是一 位「日常生活點滴」攝影
師，他的個人經歷與工作緊密相連。從巴
黎到沃克呂茲的戈爾代 ── 1948年，羅尼
一家於當地購置一所房子，並妻子瑪麗·安
娜、兒子文森和好友等羅尼視為真誠直率
而可愛的人，都是他首要的拍攝對象。一場
簡單的遊戲、沐浴、午睡等日常生活細節都
能賦予這位攝影師拍攝靈感，它們亦自此
成為經典的影像。
從1950年 代 到1990年 代，法 國 是 羅 尼 最
愛的地方。不論是一項工業委託、報章報
導或數天的假期，都能成為完美的拍攝場
景，讓這位攝影師能捕捉到一位安坐在桌
旁的釀酒師、或兩個孩子從一艘停泊在拉
西奧塔港口的貨船上跳水的時刻。羅尼始
終懷着興奮而期待的心情，遊走於馬恩河
畔、都蘭或法國南部，以一致的視覺敏銳
度來記錄生活的艱苦時刻和 「美好的偶
遇」。
Aubagne, France, 1947法國歐巴涅，1947 年
Vincent’s Model Airplane, 1947文森的模型飛機，1947 年
Siesta, Gordes, France, 1949午睡，法國戈爾代，1949 年
AROUND THE WORLD
Willy Ronis expanded his work in foreign
countries when he began travelling outside of
France in the 1930s. He followed his wife Marie-
Anne on a discovery of Nordic painters in
Holland in 1954, he was invited to East Berlin by
the photographer John Heartfield in 1960, and
he travelled to New York in 1981 for the opening
of an exhibition. For the curious, polyglot
photographer these trips were the perfect
occasion to create images without the
constraints of a specific commission. While he
was fascinated by the traditional costumes of
the women and children in Volendam and
Spakenburg, when he visited the Netherlands
in 1954, thirty years later it was the pulsations
of the city that attracted him to New York.
環遊世界
1930年代，羅尼開始前往世界各地旅遊，
進一步拓展他的攝影事業。1954年，羅尼
跟隨妻子前往荷蘭展開北歐畫家的探索之
旅；1960年，他接受攝影師約翰·哈特菲爾
德的邀請啟程至東柏林；1981年，羅尼又
到訪紐約出席一場展覽開幕禮。對這位好
奇心重又精通多國語言的攝影師而言，這
幾趟旅程無疑是不受委託任務約束、完美
的拍攝場地。1954年，羅尼遊歷荷蘭時，沃
倫丹和帕斯肯堡的婦人和孩子們的傳統服
飾讓他為之驚嘆；三十年後，他又被紐約的
城市活力深深吸引而到訪當地。
Charles Bridge, Prague, Czechoslovakia, 1967查理大橋，捷克斯洛伐克布拉格，1967 年
Venice, Italy, 1959意大利威尼斯，1959 年
Fondamenta Nuove, Venice, Italy, 1959新碼頭，意大利威尼斯，1959 年
Heading Up Madison Avenue, New York, USA, 1981前往麥迪遜大道，美國紐約，1981 年
NUDES
In Paris, Rome, Djerba or Gordes, Ronis
photographed young women, both those he
had met by chance and photographic models.
For many years largely unknown, and hardly
shown (with the obvious exception of the
Provençal nude), Willy Ronis’ nudes were often
staged in intimate spaces, hiding their faces to
perfectly emphasize the curvature of the
bodies. These nudes were the focus of a late
album made in 2008, when Ronis was already
98 years old.
裸體
羅尼曾在巴黎、羅馬、傑爾巴島或戈爾代為
偶遇的少女、或年輕的攝影模特兒拍攝裸
照。多年來，這批裸體照片都是鮮為人知，
且幾乎未曾作公開展示（ 〈普羅旺斯裸體〉
除外）。維利·羅尼的裸體女性作品通常以私
密的空間為場景，她們的臉龐會被遮蓋，
以完美地突顯身體的曲線線條。直到2008
年，即羅尼98歲時，這些裸體作品才作為
一本攝影集的主題。
Provençal Nude, Gordes, France, 1949
普羅旺斯裸體，法國戈爾代，1949 年
Deena’s Back, Paris, 1957黛娜的背部，巴黎，1957 年
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Please follow these links for additional essays and biographical information on Willy Ronis. 瀏覽以下連結閱讀有關維利˙羅尼的研究論文及生平簡介。
Englishhttps://bit.ly/2vYSPOU
中文
https://bit.ly/2EiXcJx
