世界闻名的油画作品，大多已经被分析得很彻底了。
不过，有些画家可是在画中藏了一点小心思，你有没有注意到呢？
最近，英国作家兼艺术家Susie Hodge的新书Art in Detail: 100 Masterpieces面世了，书中为我们介绍了100幅名画中常被忽视的细节。
今天，双语君（微信ID：chinadaily_mobile）就带大家一起找找下面九幅名画中的小秘密。
The Scream
《呐喊》（1893）
爱德华·蒙克
Munch was inspired when, feeling tired and ill while crossing a fjord on a bridge, he gazed out across the sunset and 'sensed a scream passing through nature'.
当时蒙克正从桥上跨越峡湾，他感到又累又难受。他凝视着日落，“感受到一声从自然中传出的呐喊”，他因此灵感突发。
'It seemed to me that I heard the scream,' he wrote in his diary. 'I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.'
“我感觉我听到了那声呐喊”，蒙克在日记中写道，“我就画了这幅画，把云彩画得和鲜血一样。那颜色也在尖叫，这就是《呐喊》了。”
The viewer's gaze is drawn almost instantly to the iconic, terrified figure, the sickly near-black fjord, and the apocalyptic skies above.
观众们的目光几乎一下子就会聚焦在那个经典的、被吓坏了的人，近乎黑色的病态的峡湾，以及世界末日般的天空上。
Less obvious are the shadowy figures in the background. They look threatening, but in reality, they are representations of Munch's two friends, who were with him on the bridge but oblivious to his vision.
背景里那两个模糊的人性就显得不那么明显了。他们看起来很吓人，但实际上，那代表了蒙克的两个朋友，当时这两人也与他一起走在桥上，但是不知道他的所见所感。
The Laughing Cavalier
《笑容骑士》（1624）
弗兰斯·哈尔斯
One of the most celebrated Baroque portraits of all time, Dutch painter Hals put an extraordinary amount of detail into his subject's clothing and appearance - particularly his wry and enigmatic smile.
本画是最著名的巴洛克风格肖像画之一，荷兰画家哈尔斯为其绘画对象的服装和外表倾注了大量的细节，特别是他那一抹神秘的微笑。
It's not known who the cavalier is - although the Latin in the top-right of the picture says he was 26, and it was painted in 1624.
尽管画布右上角用拉丁文写着绘画对象26岁，本画创作于1624年，但人们并不知道画中的骑士是谁。
While we know nothing about Hals's puckish subject, the round, golden pommel of a sword can be seen in the crook of his left arm.
尽管我们不知道哈尔斯那淘气的绘画对象到底是谁，但能看到他左臂弯处那圆形金色的剑柄头。
That would suggest that the subject was a proficient swordfighter - the sign of a gentleman at the time.
这可能暗示着绘画对象是一位熟练的剑士，而在那个时代，这正是绅士的象征。
The Ambassadors
《大使们》（1533）
小汉斯·荷尔拜因
The Ambassadorshas been the subject of debate by art historians for years, who have pondered the symbolism of the items on the tables between the two men, and the identities of the figures themselves.
美术史学者已经为本画争论了好多年，争论的点在于两个人中间桌子上那些物品的象征意义，以及人物本身的身份。
Holbein added details such as a lute with a broken string, a symbol of disharmony, next to a copy of Martin Luther's translation of a hymnbook perhaps representing the religious strife seen at the time.
荷尔拜因把不和谐的象征——一把断弦的琵琶——放在了马丁路德翻译的赞美诗集旁边，这可能代表着当时的宗教冲突。
The Ambassadorsclearly doesn't lack for details to consider, one startling addition is often overlooked at first glance: the stretched skull in the bottom-center of the image.
这幅画包含很多值得思考的细节，有个很容易被人初见时忽略的细节：画底中央部分有一个拉长的骷髅头。
Why Holbein stretched the skull out isn't known, but it's been suggested that the painting might have been intended to hang in a stairwell - where people approaching it from the left would have seen it in the correct perspective.
荷尔拜因为什么画这颗骷髅头还无法解释，但据说这幅画本来是要挂在楼梯边的墙上，而从这幅画左侧上楼梯的人刚好可以从正确的角度看到这个骷髅。
把这部分压缩一下，清晰可见是个头骨
The Arnolfini Portrait
《阿诺芬尼夫妇像》（1434）
扬·凡·艾克
There are many signs of the Arnolfinis' wealth in the image, such as the fur trim on the woman's dress and her gold necklace and rings - both of which appear to be small details but would have been extremely expensive.
画中有很多细节暗示阿诺芬尼夫妇的财富，比如女士连衣裙上的皮毛装饰，比如她佩戴的金项链和戒指，这些都是小细节，但可能极其昂贵。
Above the mirror can be seen a message in elaborate handwriting, looking to the untrained eye like some ancient passage or motto, befitting the noble subjects.
两人身后镜子的上面，可以看到一则精致的手写信息，对外行人来说看上去像是某个古老的文章或者格言，恰好呼应了主人公高贵的身份。
In fact, it's a naughty little message from Eyck that simply reads 'Johannes de eyck fuit hic 1434' - literally 'Johannes van Eyck was here 1434'.
实际上，那是调皮的画家艾克留下的信息，内容是“扬·凡·艾克1434年到此一游”。
Oath of the Horatii
《荷拉斯兄弟之誓》（1784）
雅克·路易·大卫
David's masterful painting depicts a scene from Roman legend in which two warring cities agreed to end their fight by sending three men each to battle one another, with the survivors' city winning.
大卫这幅大师级的画作，展现了罗马传说中的故事：两个交战的城市达成协议，停止大规模战斗，各自挑选三名勇士进行角斗，幸存者代表的城市获得战争胜利。
In this scene, three brothers of the ultimately victorious Horatii family salute their father, who holds out their swords for them. All four, in accepting death and duty, are symbolic of patriotism and moral strength.
这个场景里，最终被选出来的荷拉斯家族三兄弟向正紧握他们宝剑的父亲致敬。这四个人，接受了死亡和责任，被看做是爱国主义和道德力量的代表。
One of the women, in black, clutches a little boy and girl - the children of one of the brothers - to herself. The girl buries her head in the woman's clothes, upset about the unfolding scene.
穿黑衣服的女人正把一个男孩和一个女孩搂在怀里，他们是三兄弟中某人的孩子。女孩把脸埋在女人的衣服里，为即将到来的场景感到伤心。
But the boy looks up at the men in, impressed by their devotion and bravery, reinforcing the idea that their patriotism is to be admired and mirrored.
但男孩则抬头看着这些男人，他被他们的奉献精神和勇气所感染，并深信爱国主义是值得赞美和效仿的。
Joseph the Carpenter
《木匠圣约瑟夫》（1645）
乔治·德·拉图尔
The image, which was created in the tenebrist style, featuring deep, dark shadows and strong contrast between light and dark, shows the infant Jesus holding a candle while his father, Joseph is at work.
这幅以暗色调为主的画作描绘了幼年的耶稣正手握蜡烛，他父亲约瑟夫正在工作的场景。本画以深幽黑暗的影子，以及光与暗强烈的对比为主要特征。
The symbolism of Jesus lighting up the dark is clear, and his left hand is held up in manner used during the Catholic Benediction.
耶稣驱散黑暗的寓意非常明显，而他左手举起的样子正是天主赐福时的手势。
There is dark foreshadowing here: The wood is laid crosswise from Jesus, while the angle of the auger resembles a crucifix.
本画有黑暗的伏笔：耶稣脚边的木头横在它面前，而螺旋钻和木头所成的角度与十字架相仿。
Both are symbolic of Jesus's eventual sacrifice.
这两者都预示着耶稣最终的牺牲。
Las Meninas
《宫娥》（1656）
委拉斯凯兹
Las Meninasshows the infant Margaret Theresa of Spain - daughter of King Philip IV of Spain - surrounded by an entourage including a dog, two dwarfs and the titular ladies in waiting.
本画展示了西班牙国王菲利普四世的女儿——玛格丽特·特雷纱——被一条狗、两个小矮人和侍女们环绕的场景。
The painting is notable for complexity of its composition, with some of those in the painting look out at the viewer, as in a traditional portrait, while others appear to be caught 'off-guard'.
这幅画以构图的复杂程度而闻名，其中一些人符合传统肖像的样子，正从画中向外看，另一些人则是处于一种“猝不及防”的状态。
Almost lost in shadow, above the kneeling lady in waiting, is a painter stood in front of a large canvas, gazing out at the viewer, palette in hand.
在阴影里几乎看不到的角落，在跪着侍女上面，有一位画家正面对画布而立，手拿调色板，眼睛注视着画外的观众。
And the painter? Velazquez himself, in his only known self-portrait.
画家是谁呢？就是委拉斯凯兹本人。这也是他唯一已知的自画像。
Entry of the Crusaders in Constantinople
《十字军占领君士坦丁堡》（1840）
欧仁·德拉克罗瓦
Delacroix's oil painting depicts the moment in the Fourth Crusade in which the Crusaders turned away from their invasion of Muslim Egypt and Jerusalem.
德拉克罗瓦的这幅油画描绘了第四次十字军东征时，十字军战士绕走未进攻穆斯林埃及和耶路撒冷的故事。
Instead, they sacked the Christian city of Constantinople after being refused long-promised aid. The leader, Baldwin, can be seen at the front of the parade, backed by his soldiers and surrounded by scenes of chaos and fear.
十字军没能得到长久以来承诺的援助，于是洗劫了基督教城市君士坦丁堡。在行进队伍的前面，能看到领导者Baldwin，他身后站着士兵，被混乱和恐惧所环绕。
Among the huddled masses is a young child, looking up to his wizened father, who clutches his wife and begs Baldwin for mercy.
在混乱的人群中，有一个小孩正抬头看着他消瘦的父亲，后者正紧紧抓住他的妻子，并祈求Baldwin手下留情。
Though Baldwin was a vassal of the French king, and although this painting was commissioned by King Louis-Philippe I of France, Delacroix made the effort to humanize the victims of the invasion.
尽管Baldwin是法国国王的封臣，而这幅画是法王路易-菲利普一世委托创作的作品，德拉克罗瓦还是努力试着把入侵中的受害者人性化。
The Battle of San Romano
《圣罗马诺之战》（1445）
保罗·乌切罗
Ucello painted the battle between Florentine and Sienese forces in 1432 - which took place within his lifetime - three times, each time employing spectacular color and - for the time - great realism.
乌切罗三次描绘了发生在他有生之年的佛罗伦萨和锡耶纳1432年战争的场面，每一次都用了大量绚丽的色彩，就当时来说，是很了不起的现实主义。
Despite being largely realistic, the painting does have an inevitable break from reality: All of the horses are drawn in static positions, except for one galloping horse that is partly hidden from view.
尽管这幅画已经非常写实，但不可避免的有些脱离现实的部分：所有的马都是静态的姿势，只有一匹正在飞奔的马，还有一部分看不清楚。
That's because artists of the time had not yet worked out how to draw realistically running horses.
这可能是因为当时的艺术家还没能掌握描绘奔马的方法。
编辑：唐晓敏
实习编辑：洪泽华
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