国家美术馆（2014）

所以你可以看到一点粉色透出来
so you can see a little bit of the pink showing through,
从马腹这里你也可以看到一些奇怪的形状
and there are some odd shapes coming through the horse’s belly,
这些是因为底层的草稿构图
and they have to do with the underlying composition.
我们现在来说说油画修复史中的一些很有趣的问题
Now we’re getting into interesting problems of restoration history,
因为正如我所说
because as I said,
你们现在看到的这幅画是被仔细清洁过的
what you’re seeing now is a picture that is largely cleaned,
至少第一感觉看上去清漆已经清除掉了
at least in the first sense of the varnish coming off,
所以你可以看到这种画上经常会出现的一种损伤
so you can see the kind of damages that are very typical of a picture.
就这幅画的尺寸和年代来说 它被保存的很好了
The picture’s in a pretty good state for its size and its age.
因为一些不为人知的因素 这里还是有一些画面缺失
There are certain losses that, who knows what the reasons are,
但是这幅画还有一些其他问题
but there are other problems with this picture that I think result
我觉得这是由于之前的修复师不知道这种情况是怎么回事造成的
from previous restorers’ confusion about what was going on.
一定要记住 在十九世纪中叶之前
It’s important to remember that before the mid-19th century,
修复师用于擦薄或擦去清漆的材料种类是很有限的
the kind of materials available to restorers to thin or remove varnishes was fairly limited.
他们用的就是一些比较钝的器具
They were fairly blunt instruments
那时你很难搞到有机溶剂的蒸馏物
and you couldn’t really have the distillation of organic solvents
有了那些蒸馏物 你就能明白它们之间的反应而且预测理解化学成分
that you could know their reactions and really predict and understand the chemistry.
所以经常出现过度清洁的问题
So there was often issues with overcleaning,
我觉得这幅画是另一种情况 你想想看伦勃朗
and I think what may have happened here is if you think about Rembrandt
和他个性鲜明的对非常厚的厚涂的强调
and his characteristic accents of very thick impasto
这种过度清洁事实上事实上是一个大减负
that create this wonderful relief,
能稍微看到底部的构图是怎么样
there was a bit of that going on from the underlying composition,
我想如果你把棕色的清漆从衣服棕色的画上清理下来
and I imagine if you’re cleaning brown varnish off a brown painting
你会突然看见那种美妙的厚涂技艺
and you suddenly start to see some very exciting impasto,
这就是伦勃朗的画
it’s Rembrandt,
想想看都很让人激动
it can be quite exciting,
但是我们又不是十分的确定 比如
and we can’t be absolutely certain, but for example,
这个靴子上的装饰物
this ornament on the boot –
我之前问过你们这个了 对吧
I think I’ve asked you about this before, haven’t I? –
它不像任何
it’s unlike any…
他穿着一件精致的狩猎装扮
He’s basically wear ing a fancy dress hunting outfit,
很常见的义勇军党派的服装
very typical militia party gear,
传达出一种模糊的勇武的感觉
with a vaguely martial idea,
这只靴子也在那些奇怪的线上
and so this boot is along those lines too,
靴子上的这个奇怪的装饰物我在别的地方从没见过
and it has this odd ornament of a type that I’ve never seen anywhere else,
如果你回过头来看看X光片 我们来看一下
and if you then refer back to this X-ray, let’s see.
看 在哪呢
Let’s see, where am I? Hello.
在这
There we go.
靴子上的这个装饰物事实上是下面这幅画表面的一种
This thing on his boot is actually the top of this,
他穿着一种粗呢大衣 短上衣 有点像在打猎 骑马
he is wearing a kind of tabard, jerkin, kind of hunting, riding…
很有意思的是 他看上去穿着骑兵制♥服♥
Funnily enough, he seems to be in riding gear,
立像也是
the standing figure as well.
也许是一种乡绅的装扮
Maybe just a sort of country squire look.
但是这个装饰事实上是下面这幅画人物衣服的一个细节部分
But that’s a detail of his underlying costume.
这可能就是伦勃朗的一个偶然的想法
It could be that Rembrandt just fortuitously thought,
这个看上去不错 就用这个做装饰
“That’s rather good, I’ll use that,”
但是在我看来就有点奇怪了 因为这是一个完美的三角形
but it does seem a little odd to me because it’s this perfect triangle,
没有一点曲线
it doesn’t really curve,
整幅画的构思
and the whole idea about this picture is
只用了很少的颜色 创造出一种
with a very limited palette he has created this amazing thing
马匹从对角线一跃而出的奇特感觉
of the horse coming out on the diagonal.
甚至靴子是转过来并且抬起的
Even the boot is twisting out and coming up,
如果你觉得这部分可能
and if you think the thing should probably be
再高个一米半多 它是真的从上往下看
about a metre and a half higher, it was really looking down in the way
让这类骑手像应该营造出
that equestrian portraits of this type are supposed to create
一种马儿飞跃的感觉
this kind of grandeur.
如果没有力量就要展现出气势
Authority if not power.
想想看委拉斯凯兹和奥利瓦雷斯的画或者一些其他类似的
Think of the Velazquez Olivares or something like that,
所以在我看来这并不与那种气势相符
so this doesn’t seem to square with that to me.
我们会非常近距离的观察它
But we’ll be looking at that very closely.
我们会取一些样品用显微镜来观察
We’ll take a look with a microscope and take some samples and see.
我看这里好像就能看到一些
It looks to me as though you can see some traces of this
灰褐色 棕灰色的颜料痕迹
mouse-coloured, brown-grey paint,
出现在这个靴子装饰物的厚涂里
within the impasto of the boot ornament,
这对我来说就表明有早期错误清洁的痕迹
which suggests to me that this is an earlier misguided cleaning.
这和那种自然产生的画层变透明很不一样
That’s something quite different from, say, the natural increase in transparency.
这还有一个证据显示这幅画被过度清洁过
There is other evidence of very harsh cleaning in this picture anyway.
这种破裂的小碎片看起来像是 我不知道怎么说
This kind of broken-up islands look a bit like, I don’t know,
像小点点或者一些蒸汽一样的东西
fractoids or a sort of steamy-looking thing,
这是很典型的用刺♥激♥性的溶剂或试剂
and that’s a very typical result of undercutting
处理过头的结果 这幅画很显然经历过这种处理
with harsh solvents or reagents, so this picture has suffered a bit
画面的下部分就有更多让人疑惑的地方了
and I think there was much more confusion on the lower areas
这里有大♥片♥一层棕色盖一层棕色的情况
where there’s a sort of brown on brown and brown
如果你真的不清楚这是怎么回事 你就不会很困惑
and it’s a little confusing if you’re not really aware of what’s happening.
在哪种意义上 你注入展览的作品
In what sense does the work that you do feed into the exhibition –
超过了它使修复成为可能的事实
beyond the fact that it made the restoration possible?
为了保护一幅画
In order to conserve a picture,
你得明白它是什么材料绘制的
you have to understand the materials of which it’s made,
如何绘制的 表现了什么场景 尤其是
how it’s painted, what its condition is and most of all,
要清楚假设在修复后会会呈现出怎么样的面貌
how it’s going to behave towards any proposed conservation treatment.
这意味着
What that means is that
只有我们能保证它的安全才会去修复它
we can only touch a picture if we can do it safely.
我们对于这些画的物理和化学状态
One of the reasons why pictures are investigated
进行如此彻底研究的一个原因就是
so carefully for their physical and chemical state
为了美术馆的科学家能够为修复师提供
is for the scientists of the gallery to be able to advise restorers
有关用于画作修复方法的建议
on the kind of conservation treatment they intend to use on the picture
这样我们就能保证
and most of all, so that we can guarantee that
对于国家美术馆中所有藏品的修复是安全的
what is done to a National Gallery picture is absolutely safe for it.
现在我们对于达·芬奇的理解如何发生变化
How has our understanding of Leonardo changed now –
在展会快要结束的时刻
I mean, having got to the end of this exhibition?
事实上 现存的达·芬奇的作品流传下来的
Well, there are in fact very few paintings by Leonardo extant
为数不多
that have come down to us.
相关研究 这当中一幅的精细研究
And so, the study – the intense study of one of them –
国家美术馆的 岩间圣母
the National Gallery’s Virgin Of The Rocks
提供了有关达·芬奇作画技巧
provided the most complete information
最详细的信息
about Leonardo’s painting technique.
我们知道了很多有关他在纸上作画的技术
We know quite a lot about the way he drew on paper,
但是在这次展会之前和这些研究之前
but before this exhibition and before the studies were undertaken,
我们对于达·芬奇的作油画方式所知甚少
quite little was known about the actual way in which Leonardo painted.
我们现在知道了许多 -那我们现在知道了什么呢
And now we know a great deal more. – And what is it that we know?
嗯 有
Well, er, that’s…
我们知道了这幅画的每一个细节
We know every detail of this picture.
在国家美术馆的藏品中
It’s one of the most intensively studied pictures
这是被精细研究的画作之一
in the National Gallery collection.
我们知道达·芬奇人如何准备他的嵌板
So we know how Leonardo prepared his panel,
他用了何种材料作为画的载体
what kind of ground he used.
我们知道了这幅画是分两个阶段画完的
We know that there were two phases of drawing on this picture.
事实上 从更早期的设计到
In fact, it went through a radical transformation,
现在你看见的画面表达出的设计
from an earlier design to the design that you now see
这中间经历了彻底的改变
expressed in paint on the surface.
这意味着 事实上
And what that means, in fact…
由于设计的转变 这幅画的
Because of that transformation of design, it means this picture
风格手法确实非常复杂
is actually very complicated and its manner of painting.
我们已经分♥析♥了
So we’ve been able to analyse what we’d call
一种我们称之为画面层结构的东西
the layer structure of the picture –
达·芬奇画作的所有不同的层结构
all the different layers of paint that Leonardo applied
从第一层结构
in working towards the first composition
然后第二层结构 一直到最后一层
and then his second, finished composition.
通过分♥析♥ 我们也知道画这幅画使用的许多材料是什么
We also know, in doing that, a great deal about the materials.
例如 他用的颜料
For example, the pigments he used,
他用的粘合剂 还有其它东西
the binding media he used and so on.
我们可以非常详尽的描述出
So we can provide a very complete description of how
这件艺术品是怎样被创造出来的
this work of art was created.
很好 固定住了
Right, that’s the power fixed.
我从这开始往下贴 行吗 -可以
I’m going to work it down from there, all right? – All right.
我们在这之前知道什么
What did we not know before?
当你在策划展会时
When you plan the exhibitions,
你想着各种你想放到一起展出的作品
you think about the different works that you want to bring together.
当然 你要先站在这些作品前观赏
You go and look at them, of course,
你要对每一幅作品了如指掌
and you’re very familiar with every individual work,