第三章 世紀初的華麗褻瀆與畸形肉身
第二節 肉身嘲諷－羅特列克
法國畫家羅特列克（Henri Raymond de Toulouse-Lautrec，1864~1901）
出生在一個貴族家庭中，就像其他脈脈相傳的貴族一般，他們幾乎是完全近 親聯姻。77先天發育有缺陷給他的一生蒙上了抹不去的陰影。庫柏（Douglas Cooper，1911~1984）有一段關於羅克列特的記敘：「……他不能再參與他 的父親及其他親人的生活，因此，他不能繼續做他們的同伴，阿方斯（Count Alphonse，1838~1913）不再對他兒子的作為感到興趣。」78 羅特列克注定 與貴族之途無緣，不能像父親一樣展示騎馬獵鷹的雄姿，身體狀況斷絕了他
75 Gustav Klimt, Tout l'œuvre peint de Klimt , introduction par René Passeron, documentation par Sergio Coradeschi（Paris : Flammarion, 1983）, 7.
“ La peinture donne à Klimt les moyens d’une méditation critique sur le destin de voyeur. Tout voyeur artiste se fait voyeur du voyeur, et échappe à ce destin.”
76 克林姆在他頹廢派的作品中常看到貴氣逼人的金箔【如圖 26】，許多人聯想這也許跟他
參閱：Bernard Denvir, Toulouse-Lautrec（London: Thames and Hudson, 1991）, 9.
“ The two accidents that happened to him when he was in his early teens had little or nothing to do with his basic deformity although they were seized on as a socially acceptable explanation of his condition by his parents, anxious to deny any hint of congenital disease in a family of such genealogical distinction, and all the more vehemently, no doubt, because of deeper, less conscious feelings of guilt.”
78 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 11.
“…he could no longer take part in the life of his father and his other relatives. And so, when he ceased to be a companion, Count Alphonse lost interest in his son’s doings.”
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（Lepelletier）在 1899 年三月 28 日《巴黎迴響》（L’Echo de Paris）中傷他，
玩弄著藝術家的敏感脆弱之處：
79 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 12.
“ Everywhere and always ugliness has its beautiful aspects；it is thrilling to discover them where nobody else has noticed them.”
80 Bernard Denvir, Toulouse-Lautrec（London: Thames and Hudson, 1991）, 9.
“ …large nostrils, a receding chin, thick, protuberant and unusually red lips, an enlarged tongue which made him lisp and salivate excessively, accompanied by a persistent sniffle. Shirt- sighted, he wore pince-nez and, possibly because one of the, symptoms of pyknodysostosis is that the fontanelles－the soft membranous gaps between the bones of the front part of the skull
－do not knit together after birth, thus leaving a sensitive area above the forehead, he nearly always wore a hat, even indoors.”
81 Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa：entre le mythe et la modernité
（Marseille : AGEP, 1991）, 16.
“ On use d’autant plus de《nabot》que Lautrec pouvait aspirer au titre de comte.”
82 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 11.
“ Lautrec was as conscious of his abnormal appearance as any court dwarf, and his sensibility was quickly wounded by adverse comments.”
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Renoir，1841 ~ 1919）把他看成「妓女的畫家」，86甚至在羅特列克死後三十 年，埃米爾•布蘭奇（Jacques-Emile Blanche，1861~1942）仍對他的「妓院 場景」餘怒難消。87他以娼妓做主題的動機不能否認有尋求精神寄託甚至滿 足情慾的因素，除了妓女之外沒有正常女人和他交往。庫柏認為：
83 第一次十字軍東征中，法國南部的隊伍由羅特列克的先人圖盧茲伯爵聖吉爾‧得‧
（Raymond de Saint Gilles）和阿德馬爾領軍。
84 Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa：entre le mythe et la modernité
（Marseille: AGEP, 1991）, 16.
“ …chétif, rabougri, contrefait, plus sembable à un de ces nains grotesques qui grimaçaient derrière le fauteuil ducal dans les châteaux seigneuriaux qu’à un descendant de Raymond conduisant la chrétienté à la déliverance de Saint-Sépulcre…”
85 Bernard Denvir, Toulouse-Lautrec（London: Thames and Hudson, 1991）, 143.
“ …he was sensitive to his ugliness, and aware of his apparent undesirability. Writing to his mother in January 1885, he advised her to ‘wipe away a kiss as dirty as mine is’, and later refered to himself as ‘this horrible, abject creature’.”
86 Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa：entre le mythe et la modernité
（Marseille : AGEP, 1991）, 16.
“ Renoir voyait en lui《le peintre des femmes au bordel》…” 意即「專門描繪從事低賤職業
婦女的畫家」，藉以區隔雷諾瓦體態豐腴、隨樂音翩翩起舞的矯情上流社會仕女。
87 Ibid,
“ Jacques-Emile Blanche, trente ans aprè la mort de Lautrec, s’indigne encore de ses 《Scènes de boxon》.”
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88 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 11.
“ To some extent, no doubt, this accounts for the fact that Lautrec developed a taste for
disreputable company-circus or music hall artistes, pimps, prostitutes, perverts, and the like-in which he felt less exceptional than in that aristocratic social world to which he belonged by upbringing.”
89 Gale Murray, Toulouse-Lautrec: Un peintre, Une Vie, Une Oeuvre（Paris：Belfond, 1992）, 188.
“ Il était leur ami; leur conseiller parfois; jamais leur juge; leur consolateur; bien plutôt leur frère de miséricorde: Quand il parlait de ces pauvres femmes; par minutes; l’emotion de sa voix trahissait la pitié si chaude de son coeur…”
90 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 11-12.
“ Lautrec succeeded in getting himself accepted in this other world on terms of equality.”
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粗野的人！》（Au Moulin-Rouge: un rude! Un vrai rude!）的畫中【圖 28】，阿方斯戴上同樣是圓頂高帽，狼吞虎嚥著一個三明治。羅特列克在公眾面前
91 Marcus Verhagen, “All the World's Backstage,” Modern Painters (September 2005)：76-77.
“ Lautrec presented his social circle and the entertainment business as overlapping spheres. In a couple of images, the artist, who was stunted, put in cameo appearances, accompanied for humorous effect by his beanpole of a cousin; more often he showed stars in the company of his friends. He pictured the performer as a faintly grotesque figure, but insisting as he did on his own involvement in the performer's world, some of the ridicule attached to him too.”
92 Douglas Cooper, Henri de Toulouse-Lautrec（New York：Harry N.Abrams, 1982）, 11.
“ But he was equally remorseless in portraying himself, as we can see from the many drawings and lithographs which contain half-cruel, half-witty self-caricatures. Sometimes too his mockery was directed against his father－for whom in fact he had a considerable respect－as in the drawing of 1889 where he appears naked except for a bowler-hat, or in the lithograph of 1893 called At the Moulin Rouge：A Boor! A Real Boor!, where Count Alphonse, again wearing a bowler-hat, is seen gobbling a sandwich. Lautrec cultivated his sense of fun in public for practical reasons. Chief among these was a desire to compensate for and distract attention from his deformed and unlovely appearance, which should perhaps be described as grotesque rather than ugly.”
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蟲工作》（Submersion des vignes à Celeyran）的畫冊中，以圍成大圓圈的人 們作為畫冊的結尾，他則再次以坐在草地上旁觀者出現，但是在遊戲之外，「他當然也以漫畫手法描繪他的朋友們，但是並未如畫自己時的激烈。」94
【圖36】在他所描繪的色情素描中（很多其他的色情作品在他去世後都被 他的母親撕毀），95有一幅存留下來，描繪格蘭尼（Lili Grenier，1834~1917）
96替他進行口交的情景，他的臉上流露出愉快的笑容。【圖37】這只是他的
93 Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa：entre le mythe et la modernité
（Marseille : AGEP, 1991）, 21
“ Devançant la dérision que réflètent l’atitude et les paroles des autres, il s’acharne à se croquer en nain armé de sa canne, son《crochet à bottines》…”
94 Ibid,
“ Certes il a aussi caricaturé ses amis; mais sans l’acharnement qu’il eut contre lui-même.”
95 參閱：Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa：entre le mythe et la modernité
（Marseille : AGEP, 1991）, 16
“ …sa famille avait ‘épuré’ l’oeuvre du peintre；car on trouve chez ses contemporains des allusions à des dessins érotiques très libres…”
「因為在他同伴家中發現十分大膽的色情漫畫，他的家人已經淨化過他的作品。」這也是 羅列克的母親為了保護自己與離世的孩子，以及貴族尊嚴的最後激烈手段。
96 莉莉．格蘭尼（Lili Grenier，1834～1917）是雷內·格蘭尼的太太（René Grenier），她是 竇加及羅特列克的模特兒。
Bernard Denvir, Toulouse-Lautrec（London: Thames and Hudson, 1991）, 145.
“ Lautrec became a favoured lodger, known to its inmates as M. Henri, or sometimes－in tribute to his Sexual prowess—as ‘The Coffee Pot’.”
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99 Götz Adriani, Toulouse-Lautrec（London: Thames and Hudson, 1987）, 238.
“ In 1899 Lautrec was merciless in his self-criticism, and this is the most relentless of the caricatures of himself. It is a precise record of his condition; by this time he was showing symptoms that made his friends increasingly concerned. Deep depressions hallucinations alternated in ever more rapid succession in 1898~1899. His alcoholism was disastrously combined with symptoms he had been neglecting for years …”
100 Alexandre Hepp, “La Vraie Force, ” Le Journal , 20 mars 1899.
“ Toulouse Lautrec avait la vocation de la maison de santé: On l’a enfermé hier; et c’est maintenant la folie qui à masque découvert signer officiellement ces tableaux, ces dessins, ces affiches, ou elle était anonyme, si longtemps.”
轉錄自Gale Murray, Toulouse-Lautrec: Un peintre, Une Vie, Une Oeuvre（Paris：Belfond, 1992）, 283.
101 Bernard Denvir, Toulouse-Lautrec（London: Thames and Hudson, 1991）, 189.
“ And now in that strange paradise of human degeneracy, in the curious Valhalla which is a place of terror only to those mortals still burdened with sanity, he is as happy as is possible to be.”
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102 Dominique Jarrassé, Henri de Toulouse-Lautrec-Monfa：entre le mythe et la modernité
（Marseille: AGEP, 1991）, 16.
“ Ainsi le peintre, dernier rejeton d’une race épuisée … sombrerait sans descendance, achevé par alcool, la syphilis et la folie！Car la mort à trente-six ans, dans laquelle on a vu un suicide sciemment opéré－《Je creuse, disait-il, ma tombe avec ma queue》－, vient donner la touché finale d’éternité au maudit.”
103 John Richardson avec la collaboration de Marilyn McCully, trans. by William O. Desmond.
Vie de Picasso（Paris : Chêne, 1992）, 253
“ La faim semble également avoir foueté son ardeur. De nombreux autres dessins, exécutés au cours de ce qui fut la période la plus misérable de ses débuts, débordent d’une sexualité