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塞缪尔·斯迈尔斯:自助论·摘录 156
塞缪尔·斯迈尔斯《自助论》· Self-Help · 领导
Noel Paton, the well-known painter, began his artistic career at Dunfermline and Paisley, as a drawer of patterns for table-cloths and muslin embroidered by hand; meanwhile working diligently at higher subjects, including the drawing of the human figure. He was, like Turner, ready to turn his hand to any kind of work, and in 1840, when a mere youth, we find him engaged, among his other labours, in illustrating the ‘Renfrewshire Annual.’ He worked his way step by step, slowly yet surely; but he remained unknown until the exhibition of the prize cartoons painted for the houses of Parliament, when his picture of the Spirit of Religion (for which he obtained one of the first prizes) revealed him to the world as a genuine artist; and the works which he has since exhibited—such as the ‘Reconciliation of Oberon and Titania,’ ‘Home,’ and ‘The bluidy Tryste’—have shown a steady advance in artistic power and culture.
出处:
https://www.gutenberg.org/ebooks/935
定位:Excerpt 156 · 核对日期:2026-10-19 · 核验:短摘录
白话
诺埃尔·佩顿是位名画家,但他起步时只是在邓弗姆林和佩斯利为桌布和手绣细布画图案。他一边靠这行糊口,一边坚持练更难的功夫,比如画人体。他跟特纳一样,什么活儿都肯接,1840年还年轻时,就为《伦弗鲁郡年鉴》画插图。他就这样一步步往前走,慢却稳。真正让他出名的是为议会大厦画的竞赛漫画,《宗教精神》拿了大奖,世人这才认出他是真画家。此后他展出的《奥伯龙与泰坦尼亚的和解》《家》《血腥小径》等,都显示他的画艺在稳步长进。这说明起点低不要紧,关键是肯下笨功夫,把日常活计当练习,把高远目标当方向,日积月累,机会来时才能接得住。
上下文
塞缪尔·斯迈尔斯《自助》一书中的例子,19世纪英国,强调勤奋与自我提升。
今日一问
你手头那份不起眼的工作,能不能也当成练本事的场地?
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