Comprehensive Research of Fictional Paintings made by the Caracter Elstir in Proust's Work

这项研究在2000年至2001年间进行，研究了普鲁斯特的作品《追梦似水年华》中艾尔斯特的虚构画作。这项研究的目的是通过事实和全面的数据来确定这些画是如何形成的。本研究包括以下内容：关于埃尔斯特和普鲁斯特作品和信件中出现的绘画，人们收集了详尽的资料。同时，对19世纪末至20世纪初与绘画有关的专业书籍和艺术杂志、私人收藏状况和展览目录进行了调查和研究。通过对在法国国家图书馆等机构中发现的作者未发表的草稿的持续研究，人们努力确定埃尔stir的虚构画作在小说中确立的过程。通过比较上述1、2和3的更多文件，详细说明了作者在什么时候、在什么场合接触到成为埃尔斯特绘画模型的画作。因此，很明显，即使是像《Sacripant小姐》这样的肖像画，或者像《Carquethuit Port》这样的海景画，也存在马奈、惠斯勒和特纳这样的真实模特，而且蒙太奇是由几幅不同的真实画作制作而成的。这些场景不仅与原画相似，而且经常以收藏目录中记录的参考作品和印刷品为基础。围绕作者创作的上述情况是在一篇论文中得知的，其中包括研究报告的项目，并通过在法国举行的普鲁斯特研讨会上的演讲。然而，关于普鲁斯特描述这些虚构绘画的风格，很明显，隐喻的演变问题出现了。这不能纳入总体结论，将是一个进一步研究的主题。少

This research conducted during the years 2000 and 200 1 examined the fictional paintings of the character Elstir in Proust's work, A la Recherche du temps perdu. The aim of the research was to determine, through factual and comprehensive data, how these paintings came into existence. The research consisted of the following:1. An exhaustive collection of information was gathered regarding Elstir and the paintings appearing in Proust's work and letters.2. At the same time, investigation and research was made of specialized books and art magazines related to paintings from the end of the nineteenth century to the beginning of the twentieth century, of the state of private collections, and of exhibition catalogs.3. Through continued research of the author's unpublished drafts found in institutions such as the Bibliotheque nationale de France, an effort was made to determine the process by which the fictional paintings of Elstir became established in the novel.4. By comparing the documents … More of the above 1, 2, and 3, specification was made of when, and by what occasion the aulhor came into contact with paintings that became models for Elstir's paintings. As a result, it has become evident that even in the case of portraits such as "Miss Sacripant," or a scenic painting of the sea such as "Carquethuit Port," actual models such as Manet, Whistler, and Turner existed, and that a montage was made from several different actual paintings. The scenes not only resemble original paintings, but are also often based on reference works and prints recorded in collection catalogs.5. The above circumstances surrounding the author's creations were made known in a thesis that included the items of the research presentation, ard through a lecture at the Proust Symposium held in France. However, regarding Proust's style of describing these fictitious paintings, it has become clear that the issue of the evolution of metaphor arises. This could not be incorporated into the overall conclusion, and will be a subject for further study. Less