Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他模特儿，他灵感和他爱妻——搬进了戛纳城郊一个不起眼别墅“博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个起眼的别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里沉思默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他模特儿，他灵感和他爱妻——搬进了戛纳城郊一个不起眼别墅“乐博凯斯”。

Singing after Hymen's Birds, musing in Psalter's gradus.

诗也《关雎》，歌而汉乐。

His muse had deserted him, and he could no longer write.

他已无灵感, 不能再写作了。

Something must have happened to her. She has been sitting there musing for hours.

"她一定是有什么事了,一连几小坐在那里默想。"

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当博纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。