《自画像》
Agnes Noyes Goodsir was an Australian portrait painter who moved within lesbian circles in Paris in the 1920s and 1930s.
阿格尼丝·诺伊丝·古德西尔是一位澳大利亚肖像画家，她于20世纪二三十年代在巴黎女同性恋圈子内活动。
Goodsir was born in Portland, Victoria, Australia, one of eleven children born to David James Cook Goodsir, Commissioner of Customs at Melbourne, and Elizabeth Archer (née Tomlins).
古德西尔出生于澳大利亚维多利亚州的波特兰，是墨尔本海关关长大卫·詹姆斯·库克和伊丽莎白·阿切尔（内·汤林斯饰）的十一个孩子之一。
Goodsir attended the Académie Delécluse, the Académie Julian and then the Académie Colarossi. From about 1912 she shuttled between London and Paris, but finally settled in Paris in 1921 at 18 rue de l'Odéon. Her companion was Rachel Dunn, depicted in several of her paintings, such as The Chinese Skirt 1933, Girl with Cigarette 1925, The Letter 1926 and Morning Tea 1925.
古德西尔先是进入了古德仕学院，然后在colarossi学院和 Julian学院。她在1912年从伦敦和巴黎之间的shuttled落户，但最终在1921年在巴黎Rue de l’odéon 18。她的同伴雷切尔·邓恩在她的几幅画中有被描绘，如《中国女孩裙》，1933年。与1926年的《信》和1925年的《女孩与香烟》和《烟信晨茶业》。
Her work was acclaimed and exhibited at the New Salon, the Salon des Indépendants, and the Société Nationale des Beaux-Arts in Paris as well as at the Royal Academy and the Royal Institute in London. On a short visit to Australia in 1927 she exhibited at the Macquarie Galleries in Sydney and the Fine Arts Gallery in Melbourne. In 1938 four of her oils were shown at the sesquicentennial exhibition at the NSW National Art Gallery.
她的作品在巴黎的“新沙龙”、“工业沙龙”和“国家艺术沙龙”以及伦敦的皇家学院和皇家研究所受到赞扬和展出。1927年，她短暂访问澳大利亚，在悉尼麦格理画廊和墨尔本美术馆展出。1938年，她的四幅油画在新南威尔士国家美术馆的三十周年画展上展出。
Goodsir died in Paris, France in 1939, her paintings were left to her companion Rachel Dunn, who sent some 40 to Agnes's family in Australia and others to Australian galleries.
1939年，古德西尔在法国巴黎去世，她的绘画作品留给了她的同伴雷切尔·邓恩，邓恩将其中40幅作品送给了艾格尼丝在澳大利亚的家人和其他人。
《Girl With Cigarette》手拿香烟的女孩
A really good portrait tells you as much about the artist as it does about the subject. In Girl With Cigarette, 1925, painter Agnes Goodsir (1864-1939) gives us a glimpse into her artistic life.
一幅非常好的肖像可以像艺术家一样告诉你这个主题。在《1925岁的女孩》中，画家阿格尼丝·古德西尔（1864-1939）让我们由此瞥见她的艺术生活。
The portrait shows her lover, Rachel Dunn (aka Cherry), sitting at a table with elegant hands holding a cigarette while staring with icy blue eyes at the viewer. Goodsir captures so much detail in her paintings from the beautiful, intricate fabric of the shawl she wears to the delicate china teacup and saucer. The fan, table lamp, and ashtray become intimate objects that help create a domestic scene as she sits relaxing with a cup of tea, a smoke, and a fan to maybe cool off with later.
画像展示了她的情人雷切尔·邓恩（又名樱桃），坐在一张桌子上，优雅的手里拿着一支精美的香烟，冰冷的蓝眼睛看着观众。古德斯从她的精美披肩中捕捉到了如此多的细节，从精美的纤维织物到易碎的中国茶具。她冷静而放松地坐在有一杯茶，烟雾，和风扇的地方。因而风扇，台灯，烟灰缸成为亲密的对象，帮助创造一个家庭的场景。
Ladies were not often painted or photographed smoking at this time but it became very popular in the roaring 20s when women became emboldened to break barriers and try new things. Tobacco companies, like Lucky Strike, began tempting women with slogans like “Reach for a Lucky instead of a Sweet.”
女士们在这个时候不经常被画或拍照吸烟时的样子，但在20世纪滚滚来袭的时候，女性变得胆大妄为打破障碍，尝试新事物时，它变得非常流行。像“鸿运当头”这样的烟草公司，开始用标语诱惑妇女，如“拿到一种幸运，虽然不甜。”
Rachel Dunn and her husband Bernard Roelvink were close friends of Agnes Goodsir; they were all wealthy Australians in high society who traveled in the same circles so it was quite scandalous at the time when Rachel divorced her husband to be with Goodsir. They settled in Paris and Rachel became a frequent model for many of Goodsir’s portraits. They lived a bohemian lifestyle and enjoyed the freedom and creativity that Paris afforded them.
雷切尔·邓恩和她的丈夫伯纳德·罗尔文克是阿格尼丝·古德西尔的密友；他们都是富裕的澳大利亚人，在上流社会里旅行，他们在同一圈子里，所以当瑞秋和丈夫离婚时，她和古德斯先生在一起，这是很可耻的。他们定居在巴黎，瑞秋成为许多古德斯肖像画的常见模特儿。他们过着放荡不羁的生活方式，享受着巴黎给予他们的自由和创造力。
Sadly, after Goodsir’s death in Paris in 1939, her works were largely forgotten but perhaps it’s time to take another look.
可悲的是，在1939 Goodsir在巴黎去世后，她的作品在很大程度上被遗忘了，但也许是时候再看一眼了。
从古德西尔的画作中我能够感受到她温和的女性能量，画面笔触时而细腻时而放松，体现出画家熟练的绘画技法和扎实的绘画功底。画面描绘了20世纪法国上流社会女性的生活图景。
她虽然没有像诸多主流艺术家一样被后人所传颂，但却是小众艺术中非常耐人寻味的一笔。
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