国家美术馆（2014）

我们很难确切地知道这幅画表达了什么
it’s hard to tell exactly what the painting is about.
这幅画中到底发生了什么事情
What might be going on in this painting.
艺术史学家可以在关于这幅画背景的象征意义
Art historians can go on endlessly
的问题上永不停息地追寻下去
about the symbolism of the painting in the background,
还有什么这个的角度 那个的并列关系
and, you know, the angle of this and the juxtaposition of that…
但是我们怎么能知道维米尔就是这么想的呢
but how do we know that that’s entirely what Vermeer had in mind?
当然 就像其他艺术史学家一样
And of course, as any other art historian,
我也会写 这代表了这样 那表现了那个
I’ve written, “This means this, that means that,”
但永远会出现有歧义元素 会出现令人不解的地方
but there’s always an element of ambiguity, a question there,
我坚定的相信
that I firmly believe is absolutely intentional
这些顶尖的艺术家是故意这样做的
on the part of the best artists.
因为他们会设法让你感到好奇
Because it’s designed to keep you intrigued,
好让你能够不断回到这里来 认真的细致的观赏这幅画
to keep you coming back, to keep your attention on this painting.
而且每一次你来的时候 因为你的情绪的变化
And each time you come to the painting, depending on your mood,
房♥间里人群的影响 甚至是你吃了什么午餐
who else is in the room, what you had for lunch,
都会使你对这幅画的观赏体验有那么一点点的不同
it’s going to look slightly different.
它会对你产生一种吸引 你会感觉到与这幅画融为一体
It’s going to appeal to you, you’re going to engage with it,
以一种完全不同的方式
in an entirely different way.
在卡拉瓦乔的绘画技巧和
There’s a very, very interesting relationship
他的作品中我们视若珍宝的部分之间
between his painting technique
有一种非常非常有趣的关系
and the things that we value and prize about Caravaggio –
比如模特的当即影响
the immediacy of the effect of the models,
或者富有戏剧性的打光
the dramatic lighting…
许多他在日常绘画的练习中运用的技巧
A lot of the things he does in his working practice
和颜料的应用 都和我们如此珍视这些作品
as well as the application of paint are all kind of inextricably bound
有着千丝万缕的联♥系♥
with what we treasure in them.
接下来 我们从 被蜥蜴咬伤的男孩 这幅画说起
So I’ll start off with Boy Bitten by a Lizard.
关于这幅画 我最想传达给大家的是
The main thing I’d like to convey about this picture
希望大家能够通过这幅画对他
is to get you to understand a little bit
如何运用底漆 底色
about how he’s using his priming, his ground –
那是他开始画形之前
that’s the layer he puts on the canvas
在画布上铺的那一层
before he starts painting the figure.
在这幅画里 他用的是这种比较亮的砖红棕色
In this case it’s a kind of rich, bricky red-brown colour.
就是这种颜色 他之后一直利用
This is something that he’s exploiting, then,
在之后的颜料慢慢累积中
in the subsequent build-up of the paint.
这里的棕色是故意暴露在那
The brown colour is left exposed quite deliberately
来帮助整体造型呈现出一种肉体的质感
to help him evolve the modelling of the flesh tones.
贝洛利 十七世纪七十年代一名重要的评论家
Bellori, an important critic writing in the 1670s,
早在那个时候就已经写到 他是如何运用底色的暴露
was already writing about this – how he used the ground exposed
使人物肤色呈现一种中间色调
to give the middle colours of the flesh painting.
你可以看到 在胸部附近的阴影部分
You can see that in the shadow sort of around the breast
还有脸颊这边的阴影 手部的阴影
and the shadowed part of the cheek, the shadowed part of the hands,
还有许多布料的部分基本上 都运用了底色
and quite a lot of drapery painting is essentially the ground colour.
这其实是一种非常合理的手段
And it’s a very economical way of proceeding,
因为一旦你开始塑造人物 而你运用了底色
because once you establish the figure, you use the ground,
你可以上一层非常薄且透明的棕色
you can put a very thin, translucent brown colour
从而使阴影部分看起来向后延伸 之后当你要构造
to push the shadows back, and then when you build
颜色较淡的部分 当你混合浅色颜料
the lighter colours up, when you’re mixing the light-coloured paint
覆盖于深色底色之上时
and putting it on top of a darker ground,
它非常迅速地变不透明 所以这种绘画技巧是很经济节约的
it gets very opaque very quickly, and so it’s extremely economical.
我的意思是 在整个十六世纪的意大利 这种暗色底色的设置
I mean, the dark grounds are things that were evolved and used
被画家们运用到了炉火纯青的地步
more and more frequently in Italy throughout the 16th century,
特别是在北意大利 在他诞生的地方
particularly in North Italy, where he was formed.
然而 我认为 他尝试着将这种技巧
And I think, however, that he managed to exploit this technique
化为己用 从而以一种非常独特的方式
and kind of make it his own and bend it toward his purposes
达到他所求得的效果
in a very characteristic way.
如今的我们
We, with Renaissance paintings,
可以运用红外反射技术来一窥
have the ability generally to look with infrared reflectography
文艺复兴时期画作的本来面貌
and see evidence of initial drawing,
那是基于炭笔或者其他物质中的碳元素
and that’s based on a carbon containing charcoal or something
绘制在浅色底色而实现的
drawn on top of a light ground,
在那种情况下 运用红外反射很容易就对比出结果
and so the contrast is something we can pick up with infrared.
而对于这些 传统上来说 用深色底色的画
Now with these pictures, traditionally, with the dark ground
不管是用了什么样的颜料来绘制
and whatever kind of paint that might have been used to draw,
用红外反射什么都看不出来
you really don’t see anything with that technique,
所以 关于卡拉瓦乔就永远留下了百思不得其解的谜题
so it’s always been a great mystery about Caravaggio –
这是他画的吗 在哪种意义上 他是否画了预备草图
did he draw, and in what sense did he do preparatory drawing?
因为 事实上 这些都不是画在纸上的
Because we don’t have, really, drawings on paper.
他玩着属于他的把戏 让你猜不到他运用了什么技巧
He’s playing a bit of a game with you about what skill is
使出了哪种手艺 以及他是多么高效而优异
and what craft is and how speedy and confident he was.
这其中有一种 看起来像是品味 或者欲求
There’s a kind of… Seemingly a taste or a desire
去期待 去拥有那种潇洒和生动
to look, to have that kind of sprezzatura, the brio,
能够有自信地说停就停的能力
the ability to do something, to knock it off very confidently.
但是 就如同卡拉瓦乔的其他特质一样
But like many things in Caravaggio,
那些真正具有革命性创新的
what may seem…what is indeed revolutionary
是对他作画材料的深思熟虑的选择
is still grounded in a very careful and considered use of his materials.
虽然他总是 不管他混乱的私人生活
And somebody who always, whatever the sordid details of his personal life,
他始终清楚该如何掌控手中的作画材料
somebody who always was in really fantastic control of his materials
明白怎样才能呈现出一副佳作
and understanding of how the paint worked.
这些就是我想和大家分享的
So I think that’s the thing I’d like to leave with you.
怎么回事 我不在的时候这里发生了什么
What’s going on here? What’s happened in my absence?
你不在的时候
In your absence.
就像你看到 我们稍微调整了下这些挂画展览的位置 -看得出来
Well, we’ve done a bit of a re-hang, as you can tell. – Yeah.
实际上 这改变太大了
Definitely. It’s changed a lot, actually.
我认为最多只有两三幅画没有被挪动过
I think there’s only two or three pictures that haven’t actually moved.
我们基本上要做的是
So basically what we had to do,
我们要给 岩间圣母 找到一个合适的位置
we had to find a spot for The Virgin of the Rocks.
最终决定放在这里了 你觉得怎么样
And here it is now. What do you think?
实际上 我想的事 它看起来哪里有点不一样了
I was thinking that it looked strange, actually.
相比之前来说变了好多
That change a lot from before.
第一反应是
First reaction…
首先 视觉上看起来就不一样了 是吧
it’s something that I think is visual, you know?
有一种
There’s another…
看起来像是另一世界的色彩 你懂我的意思吧
Another world of colour, if you know what I mean.
那是一个完全不同的世界
It’s a completely different world.
在展出的那段时间里 当我们楼下看到它的时候
When we saw it downstairs in the exhibition,
它与其他晚期的米兰画派作品之间搭配的如此融洽
how nicely it worked with the other, later Milanese pictures,
它的构图可能看起来像是佛罗伦萨画派
and that the composition may be Florentine,
但是整幅画完全是米兰画派的风格
but the whole painting is Milanese.
这其中就牵扯到理论方面的问题了
There is a theoretical issue that,
正如你所言 这是一幅米兰画派的作品
as you said, it’s a Milanese painting,
但是 就视觉效果上而言 这一观点令人产生疑惑 对吧
but also visually I think that it’s something a bit puzzling, isn’t it?
有可能 可能草稿就是佛罗伦萨画派的风格
Possibly… Even if the drawing probably is Florentine.
嗯 想法和构图是佛罗伦萨画派的
Well, the idea, the composition is Florentine,
当然 现在你
and of course, you know, now you have…
这其实是一副在画廊里对展览位置非常挑剔
It’s a difficult picture to find a place for, actually,
的画作
in the gallery.
商讨的过程中有过争议 而我认为 某种程度上 它奏效了
And there is an argument to be made, and I think, in a way, it works,
你把它和韦罗基奥的画作摆在一起
and you show him together with Verrocchio,
和他的老师的作品 互相为邻
with his teacher, and, you know, side by side.
但 呃
But, er…
它并没有完全散发它的光彩
it doesn’t sing as nicely.
还是在楼下的时候 它的确光彩夺目
It did sing downstairs.
只有一点是 这可能对了解达·芬奇画作的演变
The only thing is…it might be instructive seeing how Leonardo…
有益处
How Leonardo evolution…
他的风格与之前大相径庭 -完全背道而驰
is completely different. – How it moves into a different direction.
如果你和他那些佛罗伦萨画派的老朋友们联♥系♥起来观赏
If you put in relations with his old Florentine friends,
那的确也是个挺难的事 但实质上
that is quite a struggle, but actually,
和我们自己陈列作品的
contrast the way of…
风格形成了对比
The display of our own one.
我觉得看起来有点 奇怪
I think it’s…quite strange.
但是把这幅画放在角落
But there’s something quite nice
也挺好的
about this being situated in the corner,
因为当你走进了赛恩斯伯里展览室
because you enter the Sainsbury Wing
你在各个房♥间里漫步
and you kind of meander throughout the rooms
然后你突然在这个角落里发现了达·芬奇的画
and then you discover the Leonardo in the corner
就好像是在原始山洞中遇到了另一伙人一样
almost as if you’d discovered the kind of little grouping in the cave.
这种感觉 相当奇妙 – 嗯 不错
Which…is quite nice. – Mm.
Bravo1号♥收到 结束
Bravo 1 receiving, over.
在提香的信里 他写道 我正在创作 嗯 戴安娜
In Titian’s letter, he says, “I’m painting,” er, “Diana,