国家美术馆（2014）

这块深红色♥区♥域有一些粗糙的笔刷痕迹
and here these rough brush marks in a dark red,
我想若你走进展览会
I think if you go into the exhibition,
你会看到它是深褐色的红
you will see it is a dark browny red,
像是沉淀的血
almost perhaps like crusted blood.
因此这是一个非常戏剧性的国家的角度
So this is a very dramatic view of empire.
我认为
So here, I think,
透纳真正开始从很多方面让自己远离克劳德
Turner really starts to detach himself from Claude in many ways,
因为这些宁静的描写不是古典主题
because these are not tranquil depictions of classical subjects.
这些反映了历史
These are reflections on history,
透纳对历史有着极大的兴趣 并深受影响
and Turner was immensely interested in and influenced by history.
他还以此为主题写了诗歌♥
He also wrote poetry on this subject.
当然 他无法避开
And he can’t have avoided, of course,
这组画里的事件
the events around the painting of these compositions
它发生在1815年 这幅是1817年
in 1815 and this one in 1817.
是拿破仑战争的结束时期
It was of course the very end of the Napoleonic Wars,
也是拿破仑帝国灭亡的时期
the end of the Napoleonic Empire,
相反 大英帝国在这时崛起
and by contrast, the rise of the British Empire.
但是透纳采取了长远的眼光来看到这些事
But Turner took a very long view of these things.
他对帝国的崛起和衰落感兴趣
He was interested in the rise and fall of empires
这些帝国都是生存了成百上千年
over hundreds and thousands of years.
请进
Do come in.
欢迎光临
So, welcome.
现在 你们看到的是弗雷德里克·里荷的画像 此画作于1663年
Now, you’re looking at a picture of Frederick Rihel, painted in 1663.
于1960年来到国家美术馆
It came in to the National Gallery in 1960.
当时已经十分模糊了 因为涂了好几层的黄色清漆
It had been quite obscured by lots of accumulated yellow varnishes.
它不久之前得以修复
The picture was restored not that long ago
之前所使用的清漆都已经分解退掉了
but the varnish that was used was very, very degraded.
你现在所看到的作品
What you’re seeing now is a picture where I’ve done
是我经过大量清理之后的样子
quite a lot of cleaning,
那意味着要使用溶剂进行清除
and that means using solvents to reduce or remove
使画作上的清漆褪色
discoloured varnishes from the paint.
表面的大部分区域
Over most of the surface area,
有一个面♥积♥相当于这么大的地方
there is an area roughly corresponding to here,
我现在都还没有清理干净
where I haven’t cleaned, not yet.
可能有一点难以看出不同之处
It’s a little hard to see the differences, I suppose now,
但是我可以告诉你们 它之前看起来更糟
and I can tell you it looks much worse.
我认为关于黄色清漆有趣的地方在于
I think the interesting thing about a yellow varnish,
每个人都知道黄色清漆可以将所有的颜色
everyone understands that a yellow varnish shifts all the colours
变成光谱中的暖色 比如蓝色加黄色变绿色
toward the warmer end of the spectrum – blue becomes green,
黄色使黄色系颜色变得朦胧
and a yellow film over a yellow colour
但不会改变它们很多
doesn’t change it much at all.
也许你对这样一幅作品会感到好奇
And so you might wonder about a picture like this,
哪种才是关于失真的最暖的颜色呢
which is mostly warm colours – white, red, brown, yellow –
白色 红色 棕色 黄色
about the distortion.
我要指出变了很多的两件事
There are two things I would point out that have changed quite a lot,
你可以将作品中
and you can distinguish some quite important things
一些重要的事区分开来
that are going on in the picture.
比如黄色厚颜料和白色厚颜料之间的区别
The differences between the yellow and white impasto,
几乎无法分辨 非常典型的伦勃朗
very typical of Rembrandt, was completely impossible to see.
衣袖和腰带差不多是相同的颜色
The sleeve and the sash were more or less the same colour,
但另外重要的事要考虑
but the other important thing to think about
而人们通常会低估的是 我们清洁照片的时候
while we clean pictures, that people often underestimate,
清漆不会改变本身颜色的事实
is the fact that varnishes not only change colour,
它们会让画面有点模糊
they often go a little foggy.
它们能营造很好的裂痕和散射光
They develop a fine crackle and the scatter light,
当然 这已经算显微镜的水平了
and it’s really on a microscopic level,
就像看车上破碎的挡风镜一样
like looking at the shattered windscreen on a car.
有一层薄膜 但你无法真正看透
There’s still a film there but you can’t really see through it,
这也会改变你看深色的方式
and that really changes the way you see the darker colours.
深色因此会变浅一点
So they become much lighter,
所以你无法看出画作中
and so you can’t see the distinctions that are in
黑色 深黑色和暗黑色之间的区别
the painting between, say, quite dark, very dark and extremely dark,
这对于这样一副有很多细节内容的作品来说
and that’s really important with the picture like this is
是非常重要的
where there’s so much going on.
正是棕色和黑色的区别
It’s about distinctions between brown and black,
深度和体积上的错觉
and really the illusion of depth and volume
以及空间感知力是欣赏这幅画的关键
and spatial perception is the key gain from this picture.
我认为 我之前提到的我们需要进行作为复原的一部分
I think the kind of investigation I was saying before that we do
的调查 甚至就是初步的复原
as part of any restoration, even preliminary to any restoration,
向我们展示了这幅画作中其它的有趣之处
has shown some other interesting things about this painting,
我要去拿一下我的视觉教具
and I’m going to take my one visual aid here.
我们
We…
抱歉
Sorry about that.
我们在开始修复前
We normally do X-radiographs of pictures like this
通常会给这类画作拍摄X光片
before we start restoration,
这是一张很典型的X光片 你能在上面看到密度更大的
so here is a typical X-ray where you can see the denser pigments,
有更大相对原子质量的颜料呈现白色
the ones with the heavier atomic weights, show up white,
很幸运 这只会出现在铅白色的白色颜料上
and luckily it just so happens that lead white, white pigment,
白色颜料事实上是最重的颜料之一
is actually one of the heaviest pigments,
所以你可以看到这些颜料的分布
so you can see the distribution of some of these things,
这告诉你一些很重要的信息 那就是画家如何计划完成一幅画的
and it tells you very important information about how a picture’s planned.
例如 人物头部周围画有天空
For example, the sky is painted around the head,
人物头部并不是画在表层的 因为我们看到这部分并没有连贯起来
the head isn’t on top of it, because we don’t see that going through.
你能从中了解各种各样有趣的事情
You learn all kinds of interesting things that are often very revealing
这之中 揭示了一位画家的作画过程 作画方式
about a particular painter’s way of working, certain mannerisms
处理画作中的厚涂 等其他手法的特定风格
in how he might handle impasto and all the rest,
这幅画有个令人着迷的地方
but the fascinating thing about this picture, which many of you
可能你们当中的许多人已经发现了 就是如果你把画横着放
may have already worked out, is that if you turn it sideways,
就出现了另外一幅画
there is another picture,
这在同类画作中是十分少见的
and this is very unusual for this kind of picture.
伦勃朗经常这么干
Rembrandt did this a great deal.
比如 他四分之一的自画像
Something like a quarter of his self portraits
都被回收 重新利用过
are recycled and reused,
但是这在一个重要委托的情况中是很不多见的
but it’s very unusual in the context of an important commission.
这幅画不是画了拿去市场上卖♥♥的
This is not painting for the marketplace.
这幅画是为一个非常重要的委托人而作
This picture was for a rather important client.
我们并不十分确定底下这幅画是什么
So we can’t be absolutely certain about this underlying painting.
我认为可以说下面这幅画和表面这幅中
I think it’s fair to say it’s the same sort of body type
弗雷德里克·里荷有着同样的姿势和特点
and general characteristics as Frederick Rihel,
所以你可能说画家修改这幅画是为了适应这个场景
so you might say that he may have changed it in response to this event
确实 这是理论之一
that happened, is one theory.
这幅画构图大胆而且不常见
This is in itself is quite a bold and very unusual composition.
在他的 夜巡 获得各种声誉后
There are more or less no full-length portraits
他多少不再画全身人物画像了
after his experiences with the reception of The Night Watch.
因此这幅画很不寻常而且空出大♥片♥画幅
So that in itself is unusual and to have this great empty space
看上去像有树或者其他东西跨过画面
with what look like trees and the rest coming through
十分有趣
is quite fascinating.
但是不管出于一种怎样我们无法确定的原因
But for whatever reason of which we can’t be certain,
这幅很长时间内没有完成的画
this picture, which is probably not entirely finished
被大幅改动了
but very far along, was changed.
然后我们了解到一些有关这幅画
And then we get into some interesting things
在改动时发生的有意思的事情
about what happened when it was changed.
十足令人惊讶的是 他只是把画转了个方向然后又开始画
He, amazingly enough, just turned it sideways and started again.
两幅画之间连底漆都没有
There was no priming in between the two paintings.
在第一次构图下面有浅棕色的石英 沙褐色做底漆
There is a brown quartz, sandy brown,
很典型的伦勃朗晚期风格
very typical of late Rembrandt, underneath the first composition,
但是他就是把画转了个方向 在同块帆布上重新画
but he just turned it and started on the same campus,
这是我们目前知道的所有了
as best we can tell.
然后他就再没画下去
And away he went.
这么想想看其实很有意思
And it’s interesting to think about that
因为油画在这几个世纪中自然而然的变透明了
because oil paint becomes more transparent
比原来更透明了一点
naturally over the centuries, slightly more transparent,
这就是你为什么能看到本不应该被看到的
and so that’s why you can often see pentimenti changes
底层的旧画出现
that were not intended to be seen.
所有人都觉得委拉斯凯兹画上的马腿不对劲
Everyone thinks about the horse’s legs on Velazquez,
你可以看到三或四只腿 因为那是作者调整的痕迹
when you see three or four of them because he was adjusting it
而你可以透过表层的画看到
and you see them coming through.
这幅画上也出现了一些这种状况
And there’s a fair bit of that happening in this picture.
我知道晚上灯光有点暗 但是例如这里
I know the light’s a little low in the evening, but here for example,
是那个站着的男人的帽子 他的脸在这里
is the hat of the standing man and his face is here,