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French to English: Published translation in Tate Modern exhibition catalogue - Edvard Munch: The Modern Eye General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - French Les historiens de l’art associent volontiers l’invention du portrait de profil à une anecdote racontée par Pline l’Ancien dans le volume sur la peinture et les couleurs de sa monumentale Histoire naturelle. Pour cacher l’infirmité du roi Antigone, qui était borgne, le peintre Apelle aurait choisi de le représenter de profil. Ainsi, écrit Pline l’Ancien, « ce qui manquait réellement à la personne semblait ne manquer qu’à la peinture ». Il est très tentant de relier cet épisode de la mythologie picturale à une série d’autoportraits photographiques de profil réalisés par Edvard Munch
en 1930, peu après la rupture d’un vaisseau sanguin dans son oeil droit qui le rendit partiellement aveugle.
À cette époque, le peintre s’est depuis peu remis à la photographie, après une très longue interruption. Il a récemment offert un appareil à sa soeur Inger, lui a montré comment s’en servir, l’a encouragée à se lancer dans la photographie. Il s’est lui-même acheté un nouvel appareil avec lequel il multiplie les autoportraits. Ceux-ci peuvent être répartis en deux groupes. Un premier ensemble est réalisé dans l’atelier. Munch pose ou se meut devant ses toiles. Jouant des effets de transparence de la pose longue, selon un principe qu’il avait déjà exploré au début du siècle, il semble vouloir faire corps avec sa peinture. Un autre groupe d’images, sans doute le plus étonnant, est pris à l’extérieur de l’atelier. Le peintre tient son appareil à bout de bras et le pointe vers son visage. Selon Arne Eggum, c’est en mai 1930 qu’eut lieu l’accident vasculaire entraînant l’hémorragie dans l’oeil droit et les troubles oculaires qui perturberont le peintre jusqu’à la fin de l’année. Toujours selon Eggum, c’est durant l’automne de cette même année que Munch réalise la série d’autoportraits en extérieur . Or, à l’exception d’une seule image, où l’artiste apparaît de trois quarts, tous les autres autoportraits le montrent de profil. À tel point que si Munch n’avait pas autant photographié le profil droit que le gauche, il serait en effet tentant de croire, qu’il cherchait, tel Apelle, à dissimuler ainsi son oeil malade.
La véritable raison d’être de cette série d’autoportraits de profil se situe donc ailleurs. Au début de l’année 1930, le critique et historien de l’art allemand Paul Westheim organisait à Berlin une singulière exposition. Celle-ci avait la parti cularité d’associer des portraits dessinés, gravés, ou sculptés par des artistes contemporains, à la photographie de leur modèle. Dans son numéro de février 1930, la revue allemande Das Kunstblatt, dont Westheim était le rédacteur en chef, rendait assez largement compte de l’exposition à travers un essai de sa main (reproduit ci-après p. 254) et de nombreuses reproductions. Intitulé « Gezeichnet oder geknipst? » [Dessiné ou photographié ?], l’article de Westheim revenait sur l’éternelle question du statut artistique de la photographie avant d’aborder celle, non moins récursive, de la ressemblance dans le domaine du portrait. Selon lui, le portraitiste qui voulait réellement créer devait nécessairement transcender la ressemblance. « Pour peu
qu’il soit créateur, écrit-il […], il essaiera de concevoir ce que j’appelle un portrait d’essence. Je veux dire qu’au-delà du visuel, il donnera en outre un concept ou du moins une idée de la spiritualité du sujet qu’il doit représenter. »
Translation - English Art Historians are quick to link the invention of the profile portrait to an anecdote told by Pliny the Elder in the volume on painting and colours in his monumental Natural History. In order to hide the affliction of King Antigonus, who only had one eye, the painter Apelles supposedly chose to portray him in profile. In this way, so Pliny the Elder wrote, "what in reality was wanting to the person might have the semblance of being wanting to the picture rather." It is very tempting to link this episode from the mythology of painting to a series of photographic self-portraits in profile taken by Edvard Munch in 1930, shortly after a blood vessel in his right eye had ruptured, leaving him partially blind.
At that time, the painter had not long returned to photography after a considerable break. He had recently bought a camera for his sister Inger and shown her how to use it, encouraging her to take the plunge into photography. He had also bought himself a new camera, using it to increase his number of self-portraits, which can be divided into two groups. The first group was created in the studio, with Munch posing or moving around in front of his canvases. Playing with effects of transparency using long exposures, in keeping with a principle he had already explored at the beginning of the century, he seemed to want to become one with his painting. The other group of images, undoubtedly the more surprising, was taken outside the studio. The painter holds his camera at arms length and points it towards his face. According to Arne Eggum, in May 1930 he suffered from a stroke that caused a haemorrhage in his right eye, and led to the vision problems that would bother the painter until the end of the year. According to Eggum once again, Munch created the series of outdoor self-portraits in the autumn of the same year. Now, with the exception of a single image, in which the artist appears in three-quarter view, all the other self-portraits show him in profile. So much so, that if Munch had not photographed his right profile as much as his left, it would, in fact, be tempting to believe that he was trying, just like Apelles, to conceal the afflicted eye.
The real reason for the existence of this series of self-portraits is therefore to be found elsewhere. At the beginning of 1930, the German art historian and critic Paul Westheim was organising an unusual exhibition in Berlin. It was distinctive because it combined drawn, engraved and sculpted portraits by contemporary artists with photographs of their models. In its February 1930 edition, the German magazine Das Kunstblatt, of which Westheim was editor-in-chief, dedicated a considerable review to the exhibition, written by Westheim himself (shown here on p. xxx) and including many reproductions. Entitled "Gezeichnet oder geknipst?" [Drawn or Photographed?], Westheim's article returned to the eternal question of the artistic status of photography, before tackling the no less recursive issue of resemblance in the field of portraiture. According to him, a portraitist who really wanted to be creative had to go beyond resemblance. "If he is creative" he wrote [...] "he will try to conceive of what I call a portrait of essence. I mean, beyond the visual, he will also provide a concept, or at least an idea, of the spirituality of the subject that is to be portrayed."
Italian to English: Product descriptions - traditional Italian meats and cheeses General field: Marketing Detailed field: Food & Drink
Source text - Italian BERGAMINO
Le origini del bergamino, formaggio profumato e aromatico, sembrano risalire al X secolo. Viene prodotto da latte crudo nella zona di Pasturo, piccolo paese situato nella zona che circonda la città di Lecco, e nei comuni limitrofi, in grotte naturali che godono di un particolare microclima creato dalle correnti d’aria provenienti dalle alte montagne lecchesi.
Il bergamino di XXX viene prodotto, da oltre dieci anni, da una unica famiglia che ha il controllo di tutta la filiera. Il latte proviene infatti dalle mucche dell’allevamento di proprietà, che si nutrono del foraggio che cresce sulle sue terre. Il bergamino stagiona successivamente in spelonche situate all’interno del monte della Grigna, percorse tutto l’anno da venti gelidi che conferiscono al formaggio intensi aromi e un ottimo potenziale di affinamento. Una volta arrivate in XXX le forme vengono sapientemente controllate e custodite, verificando costantemente temperatura e umidità. L’esperienza di XXX consente inoltre di individuare le forme che più si prestano a essere sottoposte a una lunga maturazione, che conferisce loro una rara intensità di gusto.
CRESCENZA
La crescenza è un formaggio a pasta molle, crudo e fresco, prodotto con latte vaccino intero e pastorizzato. Si dice che il suo nome derivi dal latino “crescentia” perché, se tenuto al caldo, si gonfia come il pane durante la lievitazione. La crescenza è un formaggio senza crosta. La pasta è cremosa, omogenea, di colore bianco e il sapore è dolce e delicato, caratterizzato da un gradevole e fresco aroma di latte.
XXX si rifornisce di questa specialità presso un micro caseificio che la produce espressamente per il negozio, realizzando un prodotto che si distingue per la consistenza e il grado di maturazione particolare. Di colore uniforme, di consistenza elastica, è caratterizzata da un sorprendente equilibrio fra compattezza e umidità. Le partite di crescenza arrivano in XXX quasi quotidianamente. Si tratta infatti di un formaggio che va consumato freschissimo; ottimo gustato da solo, spalmato su una croccante fetta di pane, o, quando è stagione e magari per un’occasione speciale, accompagnato da lamelle di tartufo bianco. È inoltre un ingrediente prezioso per realizzare svariate ricette che XXX propone al banco della gastronomia, e in particolare ricchi primi piatti quali ravioli, crespelle e lasagne.
GUANCIALE
Prodotto di antica tradizione contadina, il guanciale di maiale è, come suggerisce il nome, ricavato da un unico pezzo di carne suina, situato tra la gola e la guancia dell’animale. Esso è percorso da venature magre (muscolo) con una componente di grasso pregiato. La consistenza è più dura rispetto alla pancetta e il sapore è più marcato.
Il guanciale, ottimo se gustato da solo, tagliato al coltello, è un ingrediente molto versatile in cucina, fondamentale nella preparazione di svariate ricette tipiche della tradizione italiana, a cominciare dalla pasta all’amatriciana. Sorprendentemente, tuttavia, si sposa molto bene anche in abbinamento a pesci quali le triglie e le code di rospo. Il guanciale di XXX è generosamente spolverato con selezionatissima paprika dolce e con un misto di erbe fini, che gli regalano un profumo dal bouquet inimitabile. Successivamente salato, stagiona in XXX per un periodo di circa 6/7 settimane. L’accuratezza impiegata nella preparazione e nella stagionatura ne fanno un prodotto di sorprendente morbidezza e di sapore al tempo stesso pieno e delicato.
Translation - English BERGAMINO
The origins of bergamino, a fragrant and aromatic cheese, appear to date back to the 10th century. It is produced from raw milk in the area around Pasturo, a small village near the town of Lecco, near Lake Como. In Pasturo and its neighbouring villages, bergamino is produced in natural caves that enjoy a particular microclimate created by currents of air from the mountain peaks around Lecco.
XXX bergamino has been made for more than ten years by a single family that oversees the entire production chain. The milk comes from cows that are reared on their farm and fed on pastures on their land. The bergamino is then matured in caves in the Monte Grigna, which are cooled all year round by icy winds that give the cheese intense aromas and excellent ageing potential. Once they have arrived in the XXX, the cheeses are expertly monitored and cared for; the temperature and humidity are constantly checked. XXX’s expertise also allows it to identify the cheeses that are best suited to a long maturing process, giving them an unusually intense flavour.
CRESCENZA
Crescenza is a soft, raw and young cheese produced with whole pasteurised cow's milk. Its name is said to derive from the Latin word crescentia because, if kept in the warm, it rises like bread during leavening. Crescenza cheese does not have rind. The cheese is creamy, smooth and white in colour with a mild and delicate flavour characterised by a pleasant fresh milk aroma.
XXX crescenza is produced in a micro dairy that supplies exclusively to the shop. Its product stands out thanks to its texture and particular grade of maturity. Uniform in colour with an elastic texture, it is surprisingly well-balanced between firmness and moistness. The batches of crescenza arrive at XXX on an almost daily basis. This cheese must be eaten while extremely fresh and is best sampled on its own, spread on a crunchy slice of bread, or, when in season or perhaps for a special occasion, accompanied by shavings of white truffle. It is also an important ingredient in several XXX recipes available at the delicatessen counter, rich pasta dishes such as ravioli, crespelle and lasagne in particular.
GUANCIALE
A traditional rustic product, pork guanciale, taken from the word guancia, meaning cheek in Italian, is made from a single piece of pork meat located between the throat and cheek of the animal. It is crisscrossed by lean veining (muscle) with a prized fat content. Its texture is rather hard compared to pancetta, and its flavour is more pronounced.
Guanciale, delicious eaten on its own and sliced with a knife, is a very versatile cooking ingredient. It is fundamental in the preparation of a variety of typical Italian dishes, such as Pasta all'Amatriciana. It also goes surprisingly well with fish, such as mullet and monkfish. XXX guanciale is generously sprinkled with carefully selected sweet paprika and a blend of fine herbs that give it a unique fragrance. It is then salted and matured in the XXX for between six and seven weeks. The care taken over preparation and maturing makes this a surprisingly soft product with a full and delicate flavour.
French to English: Guidebook text on Archachon General field: Other Detailed field: Tourism & Travel
Source text - French Arcachon, la grande tradition des bains de mer
En louant les vertus thérapeutiques de l'eau de mer, puis celles des effluves de pins et de l'air iodé, médecins, touristes et malades jouèrent un rôle essentiel dans la naissance d'Arcachon au XIXe siècle.
En 1800, mis à part pour les habitants du littoral, se baigner dans l'océan reste un acte impensable. A cette époque, l'eau de mer fait peur. Mais, dès le début du XIXe siècle, le « tourisme » va changer les habitudes. Les jeunes aristocrates anglais viennent faire “ The Tour” en France, aux Pays-Bas et en Italie. Les Anglais parviennent même à convaincre les autres “ touristes ” qu’il est agréable de se baigner. Cette idée des bains de mer venue d'Angleterre, via Boulogne, Dieppe et Royan, parvint jusqu'à Bordeaux dès 1812. D'abord reconnue pour ses effets vivifiants, l'eau de mer se vit rapidement attribuer par les médecins des qualités insoupçonnées.
Pratiqués en Grande-Bretagne pour le plaisir ou sur prescription des médecins, les bains de mer deviennent à partir de 1814, la nouvelle passion de la bourgeoisie bordelaise. Dans son sillage, la foule, en provenance de toute la région, se presse sur les plages pour goûter aux joies de la baignade et profiter des bienfaits marins. La naissance d’Arcachon sera ainsi liée à l’apparition de la mode des bains de mer sous la Restauration.
Les structures d’accueil d'Arcachon se réduisent alors à quelques cabanes de résiniers en location. En août 1823, le Capitaine François Legallais, navigateur normand, ouvre le premier hôtel-établissement de bains de la région. Cette initiative rencontre un grand succès. Elle est aussitôt imitée.
Pour le plaisir ou pour ses vertus curatives, la vogue des bains de mer à Arcachon attire ici les régionaux mais aussi une « colonie étrangère » d’altesses et de célébrités, têtes couronnées, grandes familles, hommes de lettres et artistes lyriques. Pour les accueillir avec tout le faste de leur rang, plusieurs grands hôtels et villas sont érigés sur le front de mer, sur près de trois kilomètres. C’est le début de l’essor d’Arcachon.
Translation - English Arcachon, the great tradition of bathing in the sea
Extolling the therapeutic virtues of seawater, as well as those of fragrant pines and sea air, doctors, tourists and the sick played an essential role in the birth of Arcachon in the 19th century.
In 1800, apart from for those who lived along the coast, bathing in the ocean was still unthinkable; people were afraid of sea water at that time. However, in the early 19th century, "tourism" changed habits. Young English aristocrats went on the Grand Tour to France, the Netherlands and Italy. The English even managed to convince other "tourists" that bathing was enjoyable. The idea of bathing in the sea came from England, via Boulogne, Dieppe and Royan, before reaching Bordeaux in 1812. Firstly recognised for its invigorating effects, doctors quickly attributed unexpected benefits to sea water.
Practised in England for pleasure or on doctor's orders, bathing in the sea became a new passion for Bordeaux's upper middle classes from 1814 onwards. Crowds from all over the region followed on their heels, rushing to the beaches to enjoy the delights of bathing and to take advantage of the benefits of the sea. The birth of Arcachon was therefore linked to the advent of the fashion for bathing in the sea during the Restoration.
At that time, Arcachon's accommodation facilities were limited to renting huts from tree tappers. In 1823, Captain François Legallais, a sailor from Normandy, opened the first hotel aimed at bathers in the region. This initiative met with great success and was soon imitated.
For pleasure or for its curative powers, the fashion for bathing at Arcachon attracted those from around the region as well as a “colony” of foreign VIPs and celebrities, royalty, great families, men of letters and opera singers. In order to accommodate them with all the splendour that their rank demanded, several large hotels and villas were built on the seafront, stretching for almost three kilometres. This was the beginning of Arcachon’s boom.
Italian to English: Critical essay on the work of sculptor Marino Marini General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Italian Datato unanimemente 1937, il Ritratto dello scultore Fausto Melotti fu pubblicato per la prima volta nel 1941, all’interno della monografia che Filippo de Pisis curò per le edizioni della Conchiglia. Nella didascalia posta in calce alla fotografia, a piena pagina, la scultura è indicata appartenere alla collezione della Lanterna, ossia alla collezione di Emilio e Maria Jesi, tra i più precoci e fedeli sostenitori dell’opera di Marino Marini.
Non è dato sapere, purtroppo, se il ritratto fosse stato esposto da Marino Marini tra il 1937, anno della esecuzione, e il 1941. L’unica possibilità, o quasi, è che esso abbia partecipato all’importante personale allestita dall’artista pistoiese nella galleria Barbaroux di Milano nel dicembre 1939. Della mostra purtroppo si sa molto poco, mancando il catalogo e essendo stati individuati, ad oggi, soltanto pochissimi riscontri di critica, tra i quali due recensioni, uscite rispettivamente sul «Corriere della Sera» – a firma di Guido Piovene – e sul «Popolo d’Italia». Da questi articoli si evince che Marino espose in questa circostanza molte «sculture in gesso, in cera e in legno ed una serie di disegni». Tra i ritratti, che anche in questo caso, come già alla Biennale del 1938 e alla Quadriennale del 1939, giocavano un ruolo importante nell’equilibrio della mostra, era sicuramente il Ritratto di Valdameri, citato dai commentatori. Entrambi fanno inoltre riferimento a un non meglio precisato «Busto d’uomo», ma tale indicazione non consente di avanzare con forza l’ipotesi che esso possa essere identificato con il ritratto in cera di Melotti.
L’acquisto da parte dei coniugi Jesi è pertanto da ricondurre, con ogni probabilità, a trattativa diretta. D’altro canto gli Jesi allo scadere degli anni Trenta avevano già cominciato ad acquistare sculture di Marino Marini, come testimonia la citata monografia pubblicata da de Pisis nel 1941, ove risulta appartenere alla collezione Jesi anche il grande gesso di Ersilia. Tra Marini e la famiglia Jesi si stabilì un vero e proprio rapporto di amicizia, che si fortificò significativamente durante gli anni di guerra.
Translation - English Unanimously dated to 1937, the Portrait of the Sculptor Fausto Melotti was published for the first time in 1941 in the monograph edited by Filippo de Pisis for Edizioni della Conchiglia. In the caption placed underneath the full-page photograph, the sculpture is described as belonging to the Lanterna Collection, or rather to the collection of Emilio and Maria Jesi, among the earliest and most loyal supporters of Marino Marini's work.
It is not know, unfortunately, if the work was exhibited by Marino Marini between 1937, the year of its execution, and 1941. Almost the only possibility is that the sculpture was among the important figures exhibited by the Pistoia-born artist at the Galleria Barbaroux in Milan in December 1939. Very little is known about this exhibition, unfortunately; the catalogue has been lost and extremely limited critical feedback has so far been identified, including two reviews that were published in the ‘Corriere della Sera’ - by Guido Piovene - and in the ‘Popolo d'Italia’. From these articles, it is clear that Marino exhibited a number of 'plaster, wax and wooden sculptures and a series of drawings' as part of the show. His portraits, the case here as at the 1938 Biennale and the 1939 Quadriennale, also played an important role in the balance of the show; these included the Portrait of Valdameri, mentioned by the critics. They both also made mention of an unspecified 'Male Bust', but such a description does not allow us to assert the hypothesis that this could have been the wax portrait of Melotti with any certainty.
That the work was purchased by the Jesi's was most likely the result of direct negotiation. On the other hand, in the late 1930s the couple had already begun to purchase sculptures by Marino Marini, as evidenced by the aforementioned monograph by de Pisis published in 1941, in which the large plaster Ersilia is also described as belonging to the Jesi collection. A genuine bond of friendship developed between Marini and the Jesi family, which was strengthened significantly during the war years.
Italian to English (Cambridge University (Lang. Degrees), verified) Italian to English (Chartered Institute of Linguists, verified) French to English (Cambridge University (Lang. Degrees), verified) French to English (Institute of Translation and Interpreting, verified) French to English (Society of Authors: Translators Assoc.)
Italian to English (Society of Authors: Translators Assoc.) Italian to English (Institute of Translation and Interpreting)
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ITI, Mediterranean Editors and Translators Association (MET), Association of Art Historians, CIOL, TTA
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Adobe Acrobat, Lingotek, Microsoft Excel, Microsoft Word, Powerpoint, Trados Studio
Hello and welcome to the profile page of Laura Bennett, a freelance professional translator working from French and Italian into English.I provide a high-quality, friendly service offering the perfect combination of language skills, expert knowledge, professional commitment and cultural understanding.
I have been working with languages for many years. For more information about my background and experience please proceed further into the details of my profile, in the meantime here is a brief overview:
■Fluent in French and Italian, English mother tongue.
■5 years residence in Italy, 2 years residence in France.
■Institute of Linguists Diploma in Translation (Italian > English, awarded a merit in two of the three papers taken).
■Joint Honours degree in French and Italian from Cambridge University including a year spent studying Art and Literature at the Facoltà di Lettere at Florence University.
■MA in Art History from the Courtauld Institute of Art, London focusing on Italian Renaissance topics.
■8 years experience working in the cultural tourism industry in Europe and Worldwide.
■Member of the Institute of Translation and Interpreting, member of the Italian and French language networks; London Regional Group; Media, Arts and Tourism Network and contributor to the ITI Bulletin. Member of the Chartered Institute of Linguists. Member of the Association of Art Historians. Member of the Mediterranean Editors and Translators Association. Member of the Society of Authors Translators Association.
The majority of my translation projects involve a variety of academic, cultural, marketing and general texts. Previous clients have included private individuals and agencies, as well as some pro-bono work for charitable organisations. Previous text types have included tourism websites and brochures, museum audio-guide transcripts and labels, exhibition catalogues, academic articles, recipes, marketing and e-commerce website texts. After many years of working for an American company and dealing with clients from all over the US I am also particularly familiar with American English variations.
Published translations I have worked on within the last three years include:
Inventing Impressionism - Paul Durand-Ruel and the Modern Art Market, ed. Sylvie Patry, National Gallery Publications, 2015 Balotelli: The Remarkable Story behind the Sensational Headlines, Luca Caioli, Icon Books, 2015 A Victorian Obsession, the Pérez Simón Collection at Leighton House Museum, Véronique Gérard-Powell, Royal Borough of Kensington and Chelsea, 2014 Edvard Munch: The Modern Eye, ed. Clément Chéroux and Angela Lampe, exhibition catalogue, Tate, London 2012 Bonnard Among Friends: Matisse, Monet, Vuillard…, ed. Veronica Serrano, exhibition catalogue, Musée Bonnard, Silvana, 2012 The Househusband. A Day in the Life of a Modern Man, Oscar Matti, Gabriele Capelli Editore, 2012 Industrial Chic: Cult Furniture, Design and Lighting, Brigitte Durieux, Thames and Hudson, 2012
I provide a highly professional, quality service and would be more than happy to discuss your translation needs.
You may also wish to visit my website www.culturetranslation.com
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Keywords: specialist art history translation, architecture, history, renaissance, art history, travel, tourism, arts, history, traduzioni. See more.specialist art history translation, architecture, history, renaissance, art history, travel, tourism, arts, history, traduzioni, storia dell'arte, storia rinascimentale, rinascimento italiano, mediovale, turismo in Italia, enogastronomia, French, Italian, translation, freelance, professional, Courtauld Institute, Diploma in Translation, Cambridge University, French to English translation, Italian to English translation, travel and tourism translation, traduzione dall'italiano all'inglese, traduction du français vers l'anglais, histoire de l'art, traductions, tennis, marketing, histoire, cuisine, tourisme, gastronomie, cinema, MITI, translations for publication, sports, fitness, football, calcio. See less.
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