翻译一篇英文文章,翻译完了有追加赏分了~~

翻译一篇英文文章,翻译完了有追加赏分了~~
Childhood 1840-1858
Born to modest means on November 12, 1840, François-Auguste-René Rodin was the second child of Jean-Baptiste Rodin and Marie Cheffer. He was somewhat shy and very nearsighted, which proved a hindrance in his early academic work. He took a serious interest in drawing and had his first drawing lesson when he was ten years old. His father tried to help him academically by sending him to his uncle's boarding school in Beauvais in 1851. He remained there for three years, but still had difficulty reading and writing, and the time was soon approaching for him to learn a trade.
Devoting himself to drawing early on, Rodin enrolled at the École Impériale de Dessin, a government school for craft and design (also called the "Petite École" or "Small School" to distinguish itself from the more prestigious École des Beaux-Arts, or "School of Fine Arts".) He kept himself very busy, attending classes at La Petite École, visiting museums to study antique sculpture, and attending the Gobelins tapestry manufactory, where he also studied drawing. During these early years he also discovered clay and found himself to be a very capable and promising sculptor. Although he was awarded two prizes for drawing and modeling at the age of seventeen, Rodin was unable to gain admittance to the prestigious and conservative École des Beaux-Arts, which rejected him three times.
Early Struggles 1858-1870
To help support his family Rodin began working commercially in the decorative arts in 1858. Paris was in a time of transformation, many statues and other ornamental sculptures were being erected throughout the city in courtyards, squares and in front of public buildings. Numerous workshops throughout Paris were hiring artists to work on these public projects. Rodin endured several years of laboring for others by day and trying to fulfill his personal artistic aspirations by night.
Grief stricken by the unexpected death of his sister in 1862, Rodin briefly joined a Catholic order. Father Eymard, founder of the Order of the Holy Sacrament, quickly detected that the monastic life was not Rodin's true calling. He encouraged Rodin to draw and sculpt in order to revive him from his saddened mental state. Father Eymard was successful and Rodin left the monastery to pursue his dreams of being a sculptor.
Continuing to support himself by working for decorative sculptors, Rodin was able to afford to rent his first studio: a small, cold, and drafty stable. In the fall of 1863, he began working on a portrait bust that he intended to submit as his debut sculpture to the Paris Salon. The Salon was the official exhibition held annually where artists could display their work to the public. The atmosphere was very competitive, as each artist sought buyers for their work. The official prizes awarded greatly influenced what was sold. The Salon could make or break an artist's reputation.
http://www.cantorfoundation.org/Rodin/rbioe.html
http://www.cantorfoundation.org/Rodin/rbiom.html
其实是这两个网页里的文章了，文字稍微有点多，但哪位大侠帮忙翻译完了，我追加赏分啊，非常感谢了！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！

第一个网页的中英文互译
早年生活
1840年至1858年的童年
Born to modest means on November 12, 1840, François-Auguste-René Rodin was the second child of Jean-Baptiste Rodin and Marie Cheffer.天生温和的手段,对1840年11月12日,弗朗索瓦-奥古斯特é罗丹是第二个孩子,让-巴蒂斯特罗丹和Mariecheffer. He was somewhat shy and very nearsighted, which proved a hindrance in his early academic work.他有点腼腆,很近视眼,而被证明是一个障碍,在其早期的学术工作. He took a serious interest in drawing and had his first drawing lesson when he was ten years old.他宣读了严重的绘画兴趣,他的第一幅画教训时,他是10岁. His father tried to help him academically by sending him to his uncle's boarding school in Beauvais in 1851.他的父亲试图帮助他的学识派他叔叔的寄宿学校,在博韦于1851年. He remained there for three years, but still had difficulty reading and writing, and the time was soon approaching for him to learn a trade.他在那里停留三年,但仍然难以阅读和写作而当时即将迎来他学习一门手艺.
Devoting himself to drawing early on, Rodin enrolled at the École Impériale de Dessin, a government school for craft and design (also called the "Petite École" or "Small School" to distinguish itself from the more prestigious École des Beaux-Arts, or "School of Fine Arts".) He kept himself very busy, attending classes at La Petite École, visiting museums to study antique sculpture, and attending the Gobelins tapestry manufactory, where he also studied drawing.致力于绘画早期发现,罗丹的学生上高等impériale德dessin,官立学校,工艺及设计(也称为"娇小办学"或"小校",以区别于退出更负盛名的高等desbeaux-艺术,或"美术学校").他自己一直很忙,上课时00345娇小高等,参观博物馆研究古董雕塑,并出席gobelins挂毯厂他也在那里学习绘画. During these early years he also discovered clay and found himself to be a very capable and promising sculptor.在这年年初,他还发现粘土时,发现自己是一个很能干有为的雕塑家. Although he was awarded two prizes for drawing and modeling at the age of seventeen, Rodin was unable to gain admittance to the prestigious and conservative École des Beaux-Arts, which rejected him three times.虽然他荣获两个奖项的绘画及造型的年龄在十七,罗丹是无法进入美国著名的保守派高等desbeaux-艺术,它拒绝他的三倍.


Early Struggles 1858-1870早期斗争,1858年至1870年
To help support his family Rodin began working commercially in the decorative arts in 1858.帮助支持他的家人罗丹开始工作,在商业上的装饰艺术,1858. Paris was in a time of transformation, many statues and other ornamental sculptures were being erected throughout the city in courtyards, squares and in front of public buildings.巴黎是处于转型时期,许多雕象和其他观赏雕像被竖立在全市庭院,广场前及公共建筑. Numerous workshops throughout Paris were hiring artists to work on these public projects.许多研讨会,整个巴黎被艺术家租用工作,对这些公共工程. Rodin endured several years of laboring for others by day and trying to fulfill his personal artistic aspirations by night.罗丹经历了几年的劳动为他人一天,试图实现他的个人艺术风格的夜晚.
Grief stricken by the unexpected death of his sister in 1862, Rodin briefly joined a Catholic order.悲痛汛情突发去世,他的妹妹,1862年,罗丹简单加入一个天主教秩序. Father Eymard, founder of the Order of the Holy Sacrament, quickly detected that the monastic life was not Rodin's true calling.eymard父亲创办秩序的圣,很快发现了寺院生活并不罗丹的真正使命. He encouraged Rodin to draw and sculpt in order to revive him from his saddened mental state.他鼓励罗丹绘画和雕塑,以恢复他从他难过的精神状态. Father Eymard was successful and Rodin left the monastery to pursue his dreams of being a sculptor.eymard父亲是成功的罗丹离开寺院追求他的梦想是一个雕塑家.
Continuing to support himself by working for decorative sculptors, Rodin was able to afford to rent his first studio: a small, cold, and drafty stable.继续支持自己的工作,为装饰雕刻,罗丹是负担不起租金,以他的第一演播室:一个小感冒,drafty稳定. In the fall of 1863, he began working on a portrait bust that he intended to submit as his debut sculpture to the Paris Salon.在秋天1863年他开始从事画像胸像,他打算向他的雕塑亮相于巴黎沙龙. The Salon was the official exhibition held annually where artists could display their work to the public.沙龙被正式展览每年举行艺术家那里可以展示自己的工作向公众交代. The atmosphere was very competitive, as each artist sought buyers for their work.气氛非常激烈,因为每个艺人寻求买家,为他们的工作. The official prizes awarded greatly influenced what was sold.正式颁发的奖品,极大地影响所售出. The Salon could make or break an artist's reputation.美发可以打破或艺术家的声誉.

Rodin working on Father Eymard's bust, 1863罗丹工作eymard父亲的半身像,1863
Photograph by Charles Aubrey照片0025848偿

For the first time, Rodin hired a model to sit for him.为首次,罗丹租用一辆模型坐下了. The model was not a professional, but rather a neighborhood handyman named Bibi.该模型是不是专业人士,而是一个勤杂街道命名东信EG890. Rodin was very drawn to his features and wanted to depict him as he was– broken nose and all.罗丹很注意他的特点和要求,去描绘他,因为他的断鼻和所有. The Man with the Broken Nose became The Mask of the Man with the Broken Nose when the cold conditions of Rodin's studio caused the back of the head to freeze and break off.该男子的鼻子被打破,成为面具的男子的鼻子被打破在寒冷的条件罗丹的画室造成后脑勺冻结而中断. Rodin, favoring the element of chance, wanted to exhibit the portrait bust as it was.罗丹,偏袒的成分,想要呈现的肖像胸像原样. He continued to work on it for over a year before submitting it to the Salon.他继续工作,这一年多来,然后把它提交给沙龙. Much to his disappointment, the Salon rejected the work twice during 1864 and 1865.令他失望的是,沙龙拒绝了两次工作,在1864年和1865年. Rodin considered the portrait to be his earliest major work and described it as the first exceptional piece of modeling he ever did.罗丹认为画像,是他最早的主要工作,并形容这是一次特殊的一块造型他曾经.
During this time Rodin also met his lifetime companion, Rose Beuret, while working on a decorative commission.在这段时间内罗丹还会见了他的一生伴侣,beuret上升,同时工作的一个装饰委员会. She became his model and mistress and remained completely devoted to him throughout her life.她成了他的模型和情妇仍完全致力于他的整个生命. In 1866 she gave birth to their son, although Rodin did not legally acknowledge paternity.1866年她生下他们的儿子,罗丹虽然没有法律确认亲子关系.


Inspiration and Controversy 1870-1880灵感,1870年至1880年争议
In 1870 the Franco-Prussian War broke out.在1870年佛朗哥-普鲁士战争爆发. Thirty-year old Rodin was drafted into the National Guard, but was soon discharged due to his nearsightedness.32岁的罗丹被征召的国民警卫队,但很快就出院,由于他的近视. Finding himself without work, Rodin accepted a job with Albert-Ernest Carrier-Belleuse, a fashionable commercial sculptor whom Rodin had worked with off-and-on for several years.哀兵没有工作,罗丹接受了就业与艾伯特-欧内斯特载波belleuse,一个时髦的商业雕塑家罗丹的人共事过,对数年之久. Carrier-Belleuse had been commissioned to decorate the new stock exchange in the Belgian capital of Brussels.载波belleuse已委托装点新交易所在比利时首都布鲁塞尔举行. Rodin decided to go to Brussels alone, leaving Rose and their son behind in Paris.罗丹决定前往布鲁塞尔,仅留下玫瑰和他们的儿子留在了巴黎. His stay in Belgium lasted six years and would prove to be a creative and inspirational time for him.他在比利时逗留长达六年,将被证明是富有创意和灵感的时候了. In Brussels Rodin held his first exhibition, marking his debut as an independent sculptor.在布鲁塞尔罗丹举办生平第一次画展,庆祝他首次作为一个独立的雕塑家.
After an inspiring trip to Italy in 1875, Rodin began work on a large-scale statue intended for submission to the Paris Salon.后一个感人赴意大利于1875年罗丹开始工作,对大型雕像拟提交给巴黎的沙龙. Auguste Neyt, a Belgian soldier, was his model.奥古斯特neyt,比利时士兵,是他的模式. The life-size male nude, first titled The Vanquished , showed influences of classical sculpture but was modeled in a more naturalistic way, without the exaggerated musculature that Greek and Roman sculptors often used.生命大小男性裸体,首名为征服者,显示影响的古典雕塑,但为蓝本,以更自然的方式,毫不夸张的肌肉,希腊和罗马雕刻中常用. He first presented The Vanquished in Brussels, where critics were suspicious of the statue's incredible realism and accused Rodin of making a cast from the live model, a technique that a true sculptor would never use.他首先介绍了战败国,在布鲁塞尔批评家那里有可疑的塑像不可思议写实和被告罗丹制作,从演员的生活模式,一种技术,一个真正雕塑家永不使用. Rodin tried to defend himself against the accusations, but to no avail.罗丹试图郝思嘉的指控,但都不得要领. He returned to Paris but the rumors followed him as he submitted the nude, now titled The Age of Bronze , to the Paris Salon of 1877.他回到巴黎,但谣言尾随他提交的裸体,现在名为时代青铜,在巴黎的沙龙1877. It was praised for its beauty, but Rodin was again forced to defend himself against allegations of casting from a live model.有人称赞她美丽,但罗丹不得不再次为自己辩护的指控,从铸造现场示范.

Age of Bronze , 1876年龄铜牌,1876
Upon returning to Paris, Rodin supplemented his income by working for the Sèvres porcelain factory again with Carrier-Belleuse.返回巴黎,罗丹以补充其收入的工作为塞夫尔瓷器厂再次与载波belleuse. The income was small so he accepted additional work wherever he could find it.收入虽小,所以他接受额外的工作,他在哪里可以找到它. During this time Rodin created one of his most powerful figures, Saint John the Baptist , which would be exhibited with The Age of Bronze in 1880.在这段时间内罗丹创造他的一个最有力的人物,圣施洗约翰,将展示了时代的青铜1880. Partly to exonerate himself of the previous allegations, Rodin made this figure larger than life-size.部分开脱自己的以前的指控,罗丹提出的,这个数字比生命大小. He created a stir among critics, however, for his uncommon portrayal of the saint.他造成轰动的批评,但对他的写照罕见的圣徒. His figure did not depend on Saint John's more common attributes– a hair shirt, leather belt, or a cross and scroll– but presented an unidealized nude figure which his contemporaries found improper, ugly, and shocking.他的数字并不取决于圣约翰更多的共同属性--一毛衬衣,皮带,或交叉和卷轴,但颁发unidealized裸体人物,他发现当代不当,丑陋,而且令人震惊.


第二个网页的中英文互译
The Gates of Hell , 1880-c.鬼门关,1880年-三. 19001900
Monumental Projects重大项目
and Growing Notoriety 1880-1900与日益增长的恶名,1880年至1900年
Despite the criticism and controversy of the early part of his career, Rodin was commissioned by the French Ministry of Fine Arts to design his first large-scale public project in 1880.尽管遭到批评和争议的早期生涯,罗丹曾委托法国教育部美术设计他的第一座大型的公共工程,于1880年. The proposition was to create an entrance portal for a museum of decorative arts to be built in Paris.命题,是要营造一个入口门户博物馆装饰艺术将建在巴黎举行. Rodin's main source of inspiration for the doorway, soon to be called The Gates of Hell , was The Divine Comedy by twelfth-century epic poet Dante Aligheri.罗丹的主要灵感来源的大门口,不久被称为鬼门关,神曲由12世纪伟大诗人但丁aligheri. The Inferno , one of the three parts of The Divine Comedy , was a common reference in French art and literature during this time.地狱,其中三部分的神曲,是一个共同的参考,在法国艺术与文学的这段时间. An avid reader of Dante, Rodin borrowed imagery directly from The Inferno in addition to creating his own unique visual representations.热爱阅读但丁,罗丹借来的图象直接来自地狱除了创造自己独特的视觉表现. He wanted to emulate Dante's journey through the underworld as a three-dimensional single piece that would incorporate many characters and scenes.他想模仿但丁的旅途黑道作为一个三维单件就是将许多字和场面. He also drew inspiration from Charles Baudelaire's Les Fleurs du Mal (The Flowers of Evil), a controversial book of verse from 1857.他还提请灵感来自查尔斯波德莱尔的恶之花(恶之花)一个引起争议的书,诗,从1857年.
Several of his most famous independent sculptures, such as The Thinker, The Kiss and The Three Shades , were derived from smaller reliefs contained within The Gates of Hell .他的几名最有名的独立雕塑,如思想家,亲吻和30.25%,来自较小解困包含在地狱的门口. Beginning in the 1880's, Rodin exhibited many of these figures independently as freestanding sculptures.开始于1880年,罗丹展出许多这些数字独立作为独立的雕塑. By the end of the 1880's it was clear that the museum of decorative arts would never be built, but Rodin continued to work on the project periodically for the duration of his life.在最后的1880年的很清楚,博物馆装饰艺术将永远不会建成,但罗丹继续工作,在项目周期的长短了他的一生.


During the 1880s, while working on The Gates , Rodin was gaining notoriety.在1880年,而工作闸门,罗丹是声名狼藉. His work became more and more sought after, especially among fashionable society people.他的工作变得越来越抢手,特别是在社会上时髦的人. He modeled many portrait busts, often not as paid commissions but as gestures of thanks or friendship.他的许多模拟画像不景气的时候,往往不作为支付佣金,但由于手势致谢或友谊. As his reputation grew so did the activity in his studio.由于他的名声越来越没活动在画室. Rodin had several people assisting him, each having their own particular job.罗丹有几个人协助他,每个人都有自己特定的工作. There were assistants who created plaster casts of the original clay models, a "pointer" who would ready marble blocks to be carved, a bronze caster, and a patinater who finished the outer surface of the completed bronze sculpture.有小妹,创造了石膏的原始粘土模型,"指针"谁会愿意大理石块被雕刻,青铜铸和谁patinater成品外表面完成的青铜雕塑.
It was also during this period that Rodin met nineteen-year-old Camille Claudel while filling in for his friend who taught a sculpture class to a group of young women.也正是在这一时期,罗丹与19岁camille卢巴亚而填补他的朋友告诉雕塑类一群年轻妇女. Rodin soon became captivated by Camille, who had noticeable talent and an intense desire to succeed as a sculptor.罗丹很快就成了湖畔camille,曾显才华,一个强烈的愿望得逞作为一个雕塑家. While Rodin always retained his feelings for Rose Beuret, he and Camille shared more similar interests and passions.虽然罗丹始终保留他的感受,对玫瑰beuret,他和camille分享更多类似的兴趣和激情. Before long she became his student, model, collaborator, and mistress.曾几何时,她成了他的学生,型号,合作者,和情妇. The two held a great admiration for each other that was notably evident in both of their works.双方进行了十分欣赏对方,特别是显而易见的,无论他们的作品. Rodin created many sculptures with Camille serving as his inspiration.罗丹创造了许多雕塑与camille充当了他的灵感. He made many portraits of her, in addition to creating numerous sculptures of loving couples in passionate embraces, such as one of his most famous works, The Kiss .他的许多画,她说,除了创造了许多雕塑爱好夫妻激情拥抱,如他的一个最著名的作品,亲吻. Although they were very much in love, Rodin refused to leave his long-time companion Rose Beuret and he and Camille severed their ties by 1898.虽然他们很相爱,罗丹拒绝离开他的长期伴侣玫瑰beuret他和camille割断联系,1898.

The Kiss , c.亲吻,敏 1881-821881年至1882年
In 1884 Rodin took on another monumental project, this time for the city of Calais, France.1884罗丹接下另一个重大项目,这个时候的城市加莱,法国. The mayor of Calais commissioned a monument to be erected in honor of a local hero, Eustache de Saint-Pierre.市长加莱委托纪念碑竖立在招待当地的英雄人物,eustache德圣-皮埃尔. This hero was part of a dramatic event that occurred in 1347, during the Hundred Years War.英雄这是一个戏剧性的事发生在1347,在百年战争. Six leading citizens of Calais volunteered themselves as hostages to the English King Edward III in exchange for his lifting an eleven-month siege on their city.六领先公民加莱自告奋勇自己作为人质,英国国王爱德华三,以换取对他解除11个月的围困自己的城市. Eustache de Saint-Pierre was the first of six burghers to surrender.eustache德圣-皮埃尔是第6伯格人投降. The king ordered them to relinquish the keys to the city and to prepare themselves for execution.国王命令他们交出钥匙交给市,并作好准备处决. The brave citizens walked towards the king's camp, thinking that they were taking their last steps, but in the end their lives were spared.勇敢市民走向国王的营地,以为他们正在采取的步骤,但在结束自己的生命,也未幸免.
Rodin was greatly moved by the power of the story and offered to depict all six men for a modest sum.罗丹很受感动权力的故事,并提供给所有描绘六名男子,为一名温和总和. He began by studying the history surrounding the event as well as other artistic depictions of the burghers.他开始学习历史的周边活动,以及其他形式的艺术描写的伯格. He decided to show all six men taking their first steps toward the camp of Edward III.他的决定显示所有六名男子,他们采取的第一步阵营邱三. Rodin's originality won him the commission for the monument and by 1885 he was completing a second maquette for the final approval of the Municipal Council.罗丹的原创赢得委员会纪念碑和1885年,他完成了第二maquette为最后批准的市议会.
Two years before its completion, the commissioners of the monument disbanded.两年之前完成,专员的纪念碑前解散. Rodin, however, finished the Burghers of Calais in 1888 and exhibited it to the public in 1889 at a joint exhibition in Paris with Impressionist painter Claude Monet.罗丹,但吃完了伯格的加莱1888年,并展示给公众,在1889年举行的联合展览,在巴黎与法国印象派画家克劳德莫奈. The monument was not erected in Calais until 1895 and even then it was not placed to Rodin's specifications.纪念碑不设在加莱,直到1895年,即使那时也没有地利,罗丹的规格.



Balzac in Dominican Robe , 1891-92巴尔扎克在多米尼加长袍,1891年至1892年
In the late 1880's Rodin continued to receive commissions for public monuments including a monument to painter Claude Lorrain and another monument to French novelist Victor Hugo.在1880年底的罗丹继续收到佣金公共古迹包括一座丰碑画家克劳德和文案另纪念碑法国小说家雨果. In 1891 Rodin received a commission by the Société des Gens de Lettres (the Society of Men of Letters) to create a monument to their founder, French writer Honoré de Balzac.1891年罗丹接受了委员会提出的马里宗族德断想(社会文人)建立一个纪念碑,其创办人,法国作家奥诺雷德巴尔扎克. Since Balzac had been dead for forty years, Rodin faced the challenge of having to render his likeness from photographs.自从巴尔扎克已经死去40年,罗丹面临的挑战已使他的容貌,从照片. He researched the writer extensively, going so far as to order a suit from Balzac's tailor to visualize his size and girth.他研究的作者广泛,竟然下令西装,从巴尔扎克身形象化其面积和周长.
Rodin worked on the Monument to Balzac for seven years.罗丹工作纪念碑巴尔扎克为七年. He completed at least fifty studies, some based on Balzac's actual appearance and others more subjective and abstract.他至少完成了50科,一些基于巴尔扎克实际外观和别人比较主观,抽象. Most of the studies were of Balzac's head, as Rodin felt it more important to emphasize the heads of people of such high intellect.大部分的研究巴尔扎克头正如罗丹认为更重要的是要强调校长的人,这些高智力. He finished the monument in 1898 and presented the final nine-foot plaster model to the public.他完成的纪念碑于1898年颁发了最后9尺石膏模型向公众交代. It was met with outrage, disbelief, and ridicule, and as a result the literary society refused to accept it.有人见了感到愤慨,感到难以置信,挖苦,由于文学社拒绝接受它. Deeply hurt by the criticism, Rodin removed the sculpture to his studio at Meudon, outside of Paris, and refused to allow it to be cast during his lifetime.深深地伤害了批评,取消罗丹雕塑画室在行星之外,巴黎,并拒绝允许它被蒙上一生.

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