Leonora Carrington was born into a wealthy landed English family living in a large mansion Crookhey Hall. She was a rebellious child and had an interest in art from an early age. In her late teens she studied art privately with French Cubist Amedee Ozenfant where she learnt the formal techniques of painting in a highly disciplined way.
列奧諾拉·卡靈頓（Leonora Carrington）出生于一個(gè)有錢英國士紳家庭，住在名為Crookhey Hall大豪宅中。她是一個(gè)叛逆的孩子，從小就對(duì)藝術(shù)感興趣。在她十幾歲的時(shí)候和法國立體主義畫家阿米德·奧森芬特（Amedee Ozenfant）私下學(xué)習(xí)藝術(shù)，在紀(jì)律嚴(yán)明的教學(xué)方式下學(xué)習(xí)了繪畫的正式技巧。1947 Crookhey Hall
In 1936 she came across Herbert Read's book on Surrealism which included an illustration of Max Ernst's 1924 painted construction, 'Two Children Are Threatened by a Nightingale'. This had such a profound impact upon her that she wanted to create art in that style.1936年，她閱讀了赫伯特·里德（Herbert Read）關(guān)于超現(xiàn)實(shí)主義的書，其中包括馬克斯·恩斯特（Max Ernst）1924年畫的建筑插圖，“兩個(gè)孩子受到夜鶯的威脅”。這對(duì)她產(chǎn)生了深遠(yuǎn)的影響，使她想以這種風(fēng)格創(chuàng)作藝術(shù)。
1924 Two children are Threatened by a Nightingale
By Max Ernst
A year later she was invited to a dinner party at which Max Ernst was the main guest. They were immediately attracted to one another. A few weeks later she left Britain for Paris and moved in with Ernst. She there met most of the Surrealist circle and she began painting seriously.一年后，她應(yīng)邀參加了以馬克斯·恩斯特（Max Ernst）為主要嘉賓的晚宴。他們立即被彼此吸引。幾周后，她離開英國前往巴黎，并隨恩斯特一起生活。她在那里遇到了超現(xiàn)實(shí)主義圈子的大多數(shù)人，并且開始認(rèn)真繪畫。
1965 Friday the 13th
One of her earliest surrealist pieces is her 'Self Portrait' in 1937, subtitled 'The Inn of the Dawn Horse'.她最早的超現(xiàn)實(shí)主義作品之一是1937年的“自畫像”，副標(biāo)題為“黎明馬匹的旅館”。
1937 Self-Portrait
They moved from Paris to a villa in the village of St. Martin d'Ardeche in Southern France close to Marseilles. There they had a short period of intense creative work before they both began to get caught up in the consequences of the beginning of the Second World War. During that time in early 1939 she also created another key work, her portrait of Max Ernst.他們從巴黎搬到了法國南部馬賽附近的圣馬丁德阿德奇村的別墅。在那兒，他們經(jīng)歷了短暫的緊張創(chuàng)作工作，然后開始受到第二次世界大戰(zhàn)的影響。在1939年初的這段時(shí)間里，她還創(chuàng)作了另一部重要作品，即馬克斯·恩斯特肖像。
1939 Max ernst
Ernst was first rounded up as a German alien, and passed though a number of disturbing encounters with the authorities, both French and German. Carrington, being abandoned, was under considerable stress and left France for the safety of Spain. Her behaviour there showed such a degree of disturbance that she was placed into a Mental Hospital in Santander and given some rather severe drug treatment. The painting, 'Down Below' which she made in 1941 reflects her experience. She also wrote about it in a surreal novel of the same title.恩斯特（Ernst）最初是作為德國外僑被捕的，并經(jīng)歷了與法國和德國當(dāng)局的多次不安會(huì)晤。被遺棄的卡林頓承受著巨大的壓力，出于安全考慮她離開了法國去往西班牙。她在那兒的舉止表現(xiàn)混亂，以至于她被安置在桑坦德的一家精神病院并接受了相當(dāng)嚴(yán)厲的藥物治療。她在1941年創(chuàng)作的畫作《在下面》反映了她的這段經(jīng)歷。她還在同名的超現(xiàn)實(shí)主義小說中寫過它。
1941 Down Below
She escaped the hospital and fled to Lisbon in Portugal where she knew the Mexican Ambassador, Renato Leduc. He gave her sanctuary and quickly married her, thus giving her diplomatic immunity and making it possible for her to leave for the USA in 1941. While still in Lisbon she met up with Ernst who was then living with Peggy Guggenheim, however, though still friendly to him, Carrington saw the relationship as ended.她逃離了醫(yī)院，跑到葡萄牙的里斯本，在那里她認(rèn)識(shí)了墨西哥大使Renato Leduc。他給了她庇護(hù)所，并迅速與她結(jié)婚，賦予了她外交豁免權(quán)使其有機(jī)會(huì)在1941年前往美國。在里斯本的時(shí)候，她遇到了恩斯特，后者當(dāng)時(shí)與佩吉·古根海姆（Peggy Guggenheim）住在一起，盡管表面上對(duì)他仍然友好， 但卡林頓認(rèn)為他倆關(guān)系已經(jīng)終結(jié)。
1958 The 4706th Floor
She moved to New York with Leduc where he worked for a while at the Mexican Embassy. There she met up again with the exiled surrealists. In New York Ernst was still trying to reawaken the relationship with Carrington, but she did not want to re-open a romantic attachment with him. As we have seen Ernst was still infatuated with her and often referenced her in his paintings of that time. Carrington's painting 'Green Tea' was created in 1942 while in New York.她與勒杜克一起移居紐約，勒杜克在墨西哥大使館工作了一段時(shí)間。在那兒，她再次接觸流亡中的超現(xiàn)實(shí)主義者。在紐約，恩斯特仍在嘗試重新重建卡林頓的之間戀愛關(guān)系，但她不想對(duì)他重新產(chǎn)生浪漫的依戀。正如我們所看到的那樣，恩斯特仍然對(duì)她很著迷，并且經(jīng)常在當(dāng)時(shí)的畫中提到她?？诸D的畫作《綠茶》于1942年在紐約創(chuàng)作。
1942 Green Tea
In 1943 she moved to Mexico with her husband Leduc. Mexico's left leaning government of that time admitted many European refugees from the war, even granting them citizenship. In Mexico city Carrington found herself within a small community of artists and intellectual, including Remedios Varo and her husband Benjamin Peret, Kati Horna the photographer, as well as circles around the Mexican writer Octavio Paz, Diego Rivera and Frieda Kahlo. She began to devote her time to painting and writing.1943年，她與丈夫萊杜克（Leduc）移居墨西哥。墨西哥當(dāng)時(shí)的左傾政府接納了許多戰(zhàn)亂中的歐洲難民，甚至授予了他們國籍。在墨西哥城，卡靈頓屬于一個(gè)由藝術(shù)家和知識(shí)分子組成的小型社區(qū)，其中包括雷梅迪奧斯·瓦羅（Remedios Varo）和她的丈夫本杰明·佩雷（Benjamin Peret），攝影師卡蒂·霍納（Kati Horna），以及墨西哥作家奧克塔維奧·帕斯（Octavio Paz），迭戈·里維拉（Diego Rivera）和弗里達(dá)·卡羅（Frieda Kahlo）周圍的圈子。她開始將時(shí)間投入繪畫和寫作。
1969 The bath of rabbi Loew
She immediately seems to have found her mature style as we see in the 'Distractions of Dagobert' of 1945. This shows her immersion in Celtic mythology. Dagobert II was a seventh century Merovingian King. While a young prince he was captured and sent to Ireland, where he was supposed to have married Mathilde a Celtic Princess. His life is interwoven with legend and myth. Carrington here creates one of her complex paintings presenting a number of tableau depicting what she saw as elements in the myth of Dagobert and his Celtic wife.正如我們在1945年的《達(dá)格伯特的干擾》中所看到的那樣，她似乎已經(jīng)找到了成熟的風(fēng)格。畫作表明她沉浸在凱爾特神話中。達(dá)哥貝二世（Dagobert II）是七世紀(jì)的梅洛芬吉安國王。年輕的王子被捕后被送往愛爾蘭，他應(yīng)該在那里迎娶了凱爾特公主瑪?shù)贍柕?。他的生活與傳奇和神話交織在一起?？诸D在這里創(chuàng)作了她的一幅復(fù)雜的畫作，呈現(xiàn)了許多畫面，描繪了她在達(dá)哥貝特（Dagobert）和他的凱爾特妻子的神話中所看到的元素。
1945 Distractions of Dagobert
In addition to Celtic mythology Carrington was deeply interested in esotericism, alchemy, magic, and all things occult. She shared this with Remedios Varo whom she met and discussed art and ideas almost every day. Indeed, the unofficial 'headquarters' for the European Surrealist émigrés was the apartment of poet Benjamin Peret and Remedios Varo on Calle Gabino Barreda.除了凱爾特神話外，卡靈頓還對(duì)神秘主義，煉金術(shù)，魔法和所有神秘事物深感興趣。她與雷梅迪奧斯·瓦羅（Remedios Varo）分享了這一點(diǎn)，他們幾乎每天見面并討論藝術(shù)和想法。的確，歐洲超現(xiàn)實(shí)主義移民的非正式“總部”正是詩人本杰明·佩雷特和雷梅迪奧斯·瓦羅在加比諾·巴雷達(dá)街上的住所。
1960 I Wanted to Be a Bird
Leonora became attached to Hungarian photo-journalist Emerico Chiki Weisz, who, being Jewish, had also fled Europe. They married in 1946, and in 1947 created 'Chiki, Your Country' another of her paintings full of interwoven tableau. Carrington rarely commented on her work so one has little clues from her, herself, but this painting obviously interweaves aspects from the difficult lives of both Chiki and herself, with her wider philosophical and spiritual interests. Thus, for example we see some small tableau at the bottom right which may reflect alchemical imagery.列奧諾拉（Leonora）成為匈牙利攝影記者埃美里科·奇基·韋斯（Emerico Chiki Weisz）的追隨者，他是猶太人，也逃離了歐洲。他們于1946年結(jié)婚，她于1947年創(chuàng)作了另一幅充滿交織的畫面的作品《Chiki, 你的國家》?？诸D很少對(duì)她的作品發(fā)表評(píng)論，因此很難對(duì)她本人有所了解，但是這幅畫顯然將Chiki和她自己的艱難生活的各個(gè)方面與她廣泛的哲學(xué)和精神趣味交織在一起。例如，我們在右下角看到一些小的畫面，可能是反映煉金術(shù)的圖像。
1947 Chiki, Your Country
Carrington is such a major figure and her artwork is often dense and full of complex references.
可見卡靈頓是一個(gè)非常重要的（超現(xiàn)實(shí)主義）藝術(shù)家，她的作品通常顯得密集且充滿了復(fù)雜的引用。
