愛德華‧馬內（Edouard Manet，1832－1883）經常描繪兒童不同年齡與階級的兒童，題材包括肖像、街頭音樂家、僮僕、在私人或共花公園遊戲中的孩童、以及遊蕩青少年。這批作品數量多而變化豐富，超出當今藝術史研究的視野，但尚未獲得充分重視與研究。本文以馬內的的兩幅男童肖像畫為主題，解釋其社會文化脈絡及現代性。馬內的男童肖像年代涵蓋其創作生涯，提供較寬廣的對照架構，而且常見來自跨國家庭，構成當時巴黎資產階級兒童的複雜樣本。肖像畫向來被視為刻畫品格或性格的藝術，兒童肖像可說是在孩童的性格形塑過程中，由畫家或訂製者挑選其特質來製作人像。兒童肖像連結了當代意象、論述與社會現實，實為一種複雜的文化歷程。因此，馬內的兒童肖像如何回應同時期巴黎資產階級的童年觀念，構成豐富的對照實例。

Edouard Manet (1832-1883) frequently painted children of various ages and social backgrounds. The subject matter included portraits, street musicians, servants, children playing in private or public gardens, as well as loitering teenagers. Together, these works form a large collection with rich and varied content, yet they have received scant attention from art historians to date, leaving these works underappreciated and under-researched. This essay focuses on two portraits Manet made of male children, and explains the sociocultural context and modernity of each work. Manet painted child portraits throughout his creative career, providing a relatively broad structure for comparison. Further, many of his subjects drew from intercultural families, comprising a diverse selection of children from the contemporary Parisian bourgeoisie. While portraits have long been viewed as the art of expressing the subject’s integrity or disposition, child portraiture could be described as an examination of the character still in formation, with either the painter or the commissioner of the work selecting the qualities to be represented in the portrait. Child portraiture connects contemporary imagery, discourse, and social realities to form a complex cultural history. Manet’s child portraits reveal his response to the Parisian bourgeoisie’s concepts of childhood, and these works constitute a rich body of examples for comparison.

馬內; 肖像; 童年; 巴黎; 十九世紀

Manet; portraiture; childhood; Paris; nineteenth century