我画我自己！这些艺术家竟把自画像藏进了世界名画！

From the 15th century to our current day, the Renaissance maxim holds true: "Every painter paints himself." Beyond straightforward self-portraits, artists through the ages have left special signatures on their canvases, covertly inserting their own visages into their works in unusual and inventive ways.

从15世纪至今，文艺复兴时期的格言"每个画家都在画自己”是正确的。除了直截了当的自画像之外，历代艺术家都在画布上留下了特殊的签名，他们以与众不同、独出心裁的方式，将自己的自画像藏于作品中。

"The Arnolfini Portrait" by Jan van Eyck (1434)

One of the most enigmatic paintings in Western art history is also one of the most fun to look at. Jan van Eyck's sumptuous wedding portrait revels in painstakingly rendered tokens of wealth and other symbolic details.

这是西方艺术史上最神秘的绘画之一，也是最有趣的作品之一。扬·凡·艾克的奢华婚礼肖像呈现出令人陶醉的财富和其它象征性的细节。

Much has been made of the small convex mirror on the wall behind the newlyweds, which shows two additional figures entering the room. The bridegroom raises his arm in an apparent greeting, a gesture that is returned by one of the men in the mirror. Immediately above it is Van Eyck's flowery signature: "Jan van Eyck was here." Does the writing suggest that the mirror men are the artist and his assistant visiting his subjects? It's one of art history's greatest unsolved mysteries.

很多细节都在新婚夫妇身后墙上的小凸镜里，它显示另外两个人正进入房间。新郎抬起手，这显然是打招呼的手势，镜子中的另一个人给予了回应。镜子正上方是凡·艾克花朵般的签名：“扬·凡·艾克在这里。”这行字是否暗示了镜中人正是来拜访绘画对象的艺术家和他的助手？这是艺术史上最大的未解之谜之一。

"The School of Athens" by Raphael (1509-11)

Raphael's famous fresco, painted on the wall of the Vatican's Apostolic Palace, is considered a masterpiece of Classicism. The scene is a highly ordered paean to philosophy. Scores of revered ancient thinkers -- from Pythagoras to Ptolemy -- populate a vaulted marble hall with columns and coffered ceilings.

这是拉斐尔著名的壁画，壁画位于梵蒂冈使徒宫的墙上，被认为是古典主义的杰作。壁画中的场景是对哲学的最高礼赞。从毕达哥拉斯到托勒密，许多受人尊敬的古代思想家聚集在一个拱形的大理石大厅，大厅里有圆柱和镶板天花板。

The fresco is a veritable who's who of Renaissance intellectualism, and Raphael conflated his own era with the vaunted past. According to fellow Italian painter Giorgio Vasari, Raphael depicted his contemporaries in the scene as the philosophers. Bramante, bent over a chalkboard, is Euclid or Archimedes; Leonardo da Vinci is thought to be the model for Plato; and Michelangelo may be the face of Heraclitus. The artist couldn't resist including his own face in the mix: Raphael's curious face peeks out from behind the arch on the far right of the fresco, beside Ptolemy and Zoroaster.

这幅壁画是名副其实的文艺复兴时期知识分子代表作，拉斐尔将自己的时代与夸耀的过去融为一体。据意大利画家乔治·瓦萨里的说法，拉斐尔将同时代的画家描绘成哲学家。在黑板前弯腰的布拉曼特是欧几里得或阿基米德；列奥纳多·达·芬奇被认为是柏拉图的代表；米开朗基罗可能代表着赫拉克利图斯。这位艺术家忍不住将自己的脸混入其中：在壁画最右边的拱门后面，拉斐尔那张好奇的脸露了出来，他旁边是托勒密和佐罗阿斯特。

"The Last Judgment" by Michelangelo (ca. 1536-41)

It's common knowledge that Michelangelo loathed the commission to paint the Sistine Chapel ceiling in the Vatican. In a poem written for a friend in 1509, the tempestuous artist griped about the long hours laying on his back: "My brush, above me all the time, dribbles paint so my face makes a fine floor for droppings!"

众所周知，米开朗琪罗不愿意在梵蒂冈的西斯廷教堂天花板上作画。在1509年写给朋友的一首诗中，这位长时间仰卧的艺术家暴躁地抱怨：“我的画笔一直在我的头顶上滴颜料，我的脸成了颜料落下的好去处！”

In the end, the Renaissance master was able to cleverly express his frustration -- and have some fun at the pope's expense -- when he took on the "Last Judgment" fresco for the altar wall of the chapel. In the center of the expansive painting, Michelangelo's horridly eyeless face sags, an empty suit of flagellated skin, from Saint Bartholomew's hand.

最终，当这位文艺复兴时期的大师在教堂的祭坛墙上画下《最后的审判》时，他巧妙地表达了他的挫败感，并且以花教皇的钱为乐。在这幅巨大的作品的中心，米开朗琪罗可怕的无眼脸和一副没有骨架的皮囊从圣巴塞洛缪的手中垂下来。

"David with the Head of Goliath" by Caravaggio (1609-10)

Before his untimely death at age 38, Caravaggio painted himself in many guises, most frequently as the Greek god of wine, Bacchus. In the last year of his life, he decided to include a self-portrait in a depiction of the victorious David proffering Goliath's severed head -- one of several versions Caravaggio made of the biblical story. This iteration offers an unexpected level of emotional nuance to a usually gory, black-and-white tale of "might vs. right."

在卡拉瓦乔于38岁早逝之前，他曾以多种模样将自己画于作品之中，最常见的是希腊酒神巴克斯。在生命的最后一年，他决定在一幅描绘胜利的大卫砍下歌利亚的头的画像中加入自画像，这是卡拉瓦乔根据圣经故事创作的几个版本之一。这个新版为通常血淋淋的、有关“力量与权利”的黑白故事传达了意想不到的情感上的细微差别。

Here, Caravaggio is not the youthful, good-looking David, but the defeated Goliath, his slack-jaw mouth confirming his slaughter. Instead of a look of satisfied victory on his face, David appears pensive and a bit mournful, perhaps even regretful, as he gazes at his prize. Scholars have surmised that the model for the young hero was Cecco, Caravaggio's studio assistant and purported lover. The painting, then, has an unexpected psychosexual intimacy to it, one that is reiterated by David's sword, standing suggestively erect between his legs.

在画中，卡拉瓦乔不是年轻英俊的大卫，而是被击败的巨人，他张大的嘴巴证明了他的惨遭杀戮。当大卫凝视着自己的战利品时，他并未露出满意的表情，他看上去忧伤又有点悲哀，甚至很遗憾。学者们推测，这位年轻英雄的模特是卡拉瓦乔工作室的助手，同时也是他传言中的情人——切科。于是，这幅画就有了一种意想不到的性心理上的亲密感，大卫的剑重申了这一点，剑竖立在他的两腿之间，暗示他产生了生理反应。

"Still Life with Cheeses, Almonds and Pretzels" by Clara Peeters (ca. 1615)

Dutch still lifes seem straightforward, but often suggest complex meditations on mortality. While the technical difficulty of the genre and its intellectual conceits might have presented a barrier to access for female artists, women in the 17th century thrived in the genre. Clara Peeters was among the most talented still-life artists of her day.

荷兰的静物似乎直截了当，但往往暗示着对死亡的复杂思考。虽然这一流派的技术难度及其知识分子的自负可能对女性艺术家的进入产生阻碍，但17世纪的女性却在这一流派中蓬勃发展。克莱拉·佩特斯是当时最有才华的静物画家之一。

Many Dutch artists of the era painted lavish arrangements with oysters, mince pies and imported fruits and peppercorns on silver and gold plates, but Peeters favored humble displays of native dairy products like cheese and butter with peasant bread.

当时的许多荷兰艺术家在银盘和金盘上用牡蛎、肉馅饼、进口水果和胡椒粉绘制了奢华的布局，但佩特斯更喜欢谦逊地展示奶酪、黄油和农家面包等本土乳制品。

In the reflection of the ceramic goblet's pewter lid, Peeters carefully rendered her self-portrait, accurately distorted by the curve of the object. In lieu of a signature, the artist "carved" her name into the silver butter knife.

在陶瓷酒杯锡盖的反射中，佩特斯仔细地描绘了她的自画像，自画像被物体的曲线准确地扭曲了。为了代替签名，这位艺术家将她的名字“刻”在了银色黄油刀上。

"The Coronation of the Emperor Napoleon I and the Crowning of the Empress Joséphine in Notre-Dame Cathedral on December 2, 1804" by Jacques-Louis David (1806-07)

The French Neoclassical painter Jacques-Louis David is an interesting figure in the history of revolutionary France. Despite his role in overthrowing the monarchy, after the war, David cannily pledged allegiance to Napoleon, becoming the emperor's royal painter and master propagandist.

法国新古典主义画家雅克·路易·大卫是革命法国历史上一个有趣的人物。尽管他在推翻君主制方面发挥了重要作用，但在战后，大卫还是诚心诚意地宣誓效忠拿破仑，并成为皇帝的御用画家和宣传大师。

Napoleon himself commissioned David to record his opulent 1804 coronation in a monumental history painting that conveys a strong political message of power. Today, the artwork dominates the Louvre's Great Hall. It's so massive that its subjects appear life-size; viewers might feel as if they were among the colorfully painted crowd, observing Napoleon crowning Josephine.

拿破仑亲自委托大卫用一幅不朽的历史性画作记录他1804年的豪华加冕典礼，这幅画传达了强大的政治权力信息。如今，这幅画占据了卢浮宫的大厅。这幅画的尺寸太大，以致于里面的人物看起来和真人一样大小；观众们可能会觉得自己仿佛置身于色彩斑斓的人群中，观看拿破仑为约瑟芬皇后加冕。

David himself sits in the elevated theater box in the center of the composition, sketching the scene amid the velvet-, fur- and satin-clad members of the imperial family and other aristocrats. In reality, the artist was present at the actual coronation ceremony at Notre-Dame. His inclusion in the painted version of events shows the artist's allegiance to the crown, and nods to his undeniable tour-de-force artistic achievement.

在身着天鹅绒、毛皮和绸缎的皇室成员和其他贵族中，大卫本人坐在构图中央高高的剧院包厢里勾勒出这一场景。实际上，这位艺术家确实出席了在巴黎圣母院举行的加冕典礼。在这幅绘画版的加冕典礼中，大卫的融入显示了艺术家对王权的忠诚，并致敬了他无可否认的伟大艺术成就。