CAJ | 학술논문

1862年,普罗旺斯埃克斯市一个灯光昏暗的画室中,保罗塞尚正仔细为一幅自画像勾勒最后一笔。与此同时,整个欧洲却在为另一种制图方式的出现而欣喜若狂。它彻底颠覆了肖像画的特权属性,重新定义了后者的商业价值。较之亲眼所见,人们更愿意相信照相机捕捉到的影像。正如霍桑笔下的主人公、达盖尔板摄影师霍尔格拉夫这样说道：“照片描绘下最为纯粹的外表，用一种画匠永远不敢贸然尝试的真实性，展现了被拍对象的潜隐品质。”
1862년,보라왕사애극사시일개등광혼암적화실중,보라새상정자세위일폭자화상구륵최후일필。여차동시,정개구주각재위령일충제도방식적출현이흔희약광。타철저전복료초상화적특권속성,중신정의료후자적상업개치。교지친안소견,인문경원의상신조상궤포착도적영상。정여곽상필하적주인공、체개이판섭영사곽이격랍부저양설도：“조편묘회하최위순수적외표，용일충화장영원불감무연상시적진실성，전현료피박대상적잠은품질。”
In 1862, inside a poorly-lit studio, Paul C6- zanne put the finishing touches on his latest can- vas, a self-portrait. Outside, all across Europe, a different method for image-creation was taking the continent by storm. The appearance and steady advancement of photography completely overturned painting's representational domi- nance, and redefined the economic value of a portrait. It turned out that people believed in the image captured by a camera more than the real thing. Holgrave, the young daguerreotyp- ist of Hawthorne's The House of the Seven Gables (1851) remarked, "While we give it credit only for depicting the merest surface, it actually brings out the secret character with a truth that no painter would ever venture upon, even could be detect it."