可以说工作任务出色的完成了
You’ve probably accomplished all you need to do.
很可能在40年代中期，Rothko发展出一种绘画方式
Pretty much by the mid-’40s, Rothko evolved a way of painting
使用非常，非常薄的颜料图层
with very, very thin paint layers.
他钉好棉帆布画布，用兔皮胶封底
He stretches cotton duck canvas, and he seals it with rabbit-skin glue,
他会先把胶水染色
but he pigments the glue first,
然后在那层染色图层之上
and then on top of that coloured layer,
用非常稀薄的油画颜料作画
then he’ll work with very, very thin layers of oil paint,
非常稀薄的手工制颜料，
very thin layers of handmade paints, where he’s mixing pigment
他用亚麻籽油或蛋清来调色
in damar resin or he’s mixing pigment in eggs.
如果你仔细观察，你会发现
If you look at any Rothko very carefully, you’ll start to see
肌理、光泽度和不透明度都充满变化
variations in matte and gloss, variations in opacity,
这些都和他使用的不同介质有关
and these all had to do with how he changes media.
我认为叠加的图层创造出光晕
I think the layering creates an aura about them.
引诱观看者进入其中
I think they enticed us visually to enter them.
油画的表面几乎可以把观看者推开
The oil surface can almost push you away, the viewer,
反之，这些包含不同材料的图层
whereas these layers that incorporate different materials
邀请你进入，它们似动非动
invite you in because some are shiny and some are not and some are
明暗不定
moving and some are not, and it’s a…
这远比一个简单的平面更吸引人
It’s a much more engaging surface than something that’s just flat.
对我来说，研究Rothko的作品最好的收获是
For me, the best thing about working on Rothko is having developed
用多年的时间梳理出这种关联，我所做的研究
this connection over many, many years, things I’ve worked on,
我对研究员和实习生所做的说明
things I’ve instructed fellows and interns on.
他对我来说是一位非常特殊的画家
He’s a very special painter to me.
Rothko在1940年改了名字，是因为一则非正式的评论
Rothko changed his name in 1940 because of an offhand comment
来自他的画商，她签了太多犹太画家
by his dealer, who observed that she had too many Jewish artists,
所以不能再帮他办展了，他意识到他可以解决这个问题
and she couldn’t offer him a show, and he realised that he could solve
改名为Mark Rothko，一个美国公民
this problem by shortening his name to Mark Rothko, American citizen.
父亲和阿道夫·戈特利布一起开始画
My father and an Adolph Gottlieb began to work on
一系列深受希腊神话影响的画作
a series of paintings which were highly influenced by Greek myth.
传统美国油画试图在画布上表现立体感、
Whereas traditional American painting wanted to create the
表现真实世界的立体空间，
sense of depth, the space of the real world on the canvas,
而Rothko和Gottlieb放弃那条路径，他们用非常现代、
Rothko and Gottlieb abandoned that, and they, in very modern,
非常当代的手法，创作平面画作
contemporary voice, create a flat picture.
1943年办过一场大展， Adolph Gottlieb和..
In 1943, there’s a major exhibition in which Adolph Gottlieb and
Mark Rothko都参展了
Mark Rothko participate.
这是纽约艺术家首次前卫亮相
It is the first foray by the modern painters of New York.
是一场对既有美国艺术的颠覆
It is a gauntlet thrown down against the establishment of American art.
Edward Jewell在纽♥约♥时♥报♥上发表评论
It’s reviewed in “The New York Times” by Edward Jewell,
是一篇保守的艺术评论，他严厉批评这次展览
a conservative art critic, who pans the exhibition,
认为这些移♥民♥现代艺术家是新手
who finds in these fledgling modernists the immigrant voice,
非美国的声音，这篇评论用词尖刻
the non-American voice, and he’s very critical.
Rothko和Gottlieb写信给纽♥约♥时♥报♥
Rothko and Gottlieb write a letter to “The New York Times,
这封信现在已经留存在历史里，因为
which has now gone down in history because it’s really
这不只是一封投诉，更是一则宣言
a manifesto and it’s not just a complaint.
”我们膜拜这真诚，我们或言真心，坦诚相待
“We salute this honest, we might say cordial, reaction to towards
我们由衷感谢这慷慨的机会
and we appreciate the gracious opportunity that is being offered us
来宣告我们的观点
to present our views.
我们不想为自己的画辩护
We do not intend to defend our pictures.
它们为其自身辩护
They make their own defence.
时间会以其本来面目展示整体，
Times publishes the whole thing, and midway through,
它们包含以下五点：
they articulate these five points.
第一，艺术，与我们而言，是一场对未知世界的探险
Number one, “To us art is an adventure into an unknown world,
敢于承担风险的人，方可见识那个世界
which can be explored only by those willing to take the risks.
第二，想象的世界不设限，
Number two, “The world of the imagination is fancy-free
并且粗暴地颠覆常识
and violently opposed to common sense.
第三，艺术家的职责是让观众用艺术家的眼光
Three, “It is our function as artists to make the spectator
去观看世界，而不是他们自己的眼光
see the world our way, not his way.” Hmm.
第四，我们使用平面造型，因为它可以摧毁幻觉
Number four, “We are for flat forms because they destroy illusion
揭示真♥相♥
and reveal truth.
第五。无关紧要的主旨
Number five. “There is no such thing…
无法成就一幅好画
as good painting about nothing.
我们坚信画作的主旨是最关键的
We assert that the subject is crucial…
是悲剧性的，是不朽的。
which is tragic and timeless.
此致敬礼，阿道夫·戈特利布…
Sincerely yours, Adolph Gottlieb…
和Markus Rothko.
and Markus Rothko.
太棒了
It’s wonderful.
我认为这封信揭示了那段时期的很多东西
I think it tells a lot about that particular time that it was written.
它引入了一种新的语言，后来在纽约的艺术工作室
It introduces language which will become the common language of
成为了通用语言
art studios in New York.
他们从传统中破茧而出，在这过程中，
They were breaking away from a tradition, and in so doing,
几乎将那传统彻底摧毁了
you almost have to destroy the tradition you’re breaking away from.
我非常理解他们那时的感受
It makes perfect sense to me that they would feel the way they did
因为他们在开辟新路，尝试崭新的、不一样的东西
because they were striking out, doing something new and different.
他们也明白
They knew it, too.
纽约40年代中晚期，出现一种新艺术风潮
In the mid- to late 1940s in New York, there was a new artistic
其具有独特的美国风格
movement emerging that was uniquely American,
这就是著名的抽象表现主义
and it came to be known as abstract expressionism.
一群艺术家，包括杰克逊·波拉克，威廉·德库宁
A group of artists that included Jackson Pollock, Willem de Kooning,
李·克拉斯纳，琼·米切尔，克莱福特·斯蒂尔
Lee Krasner, Joan Mitchell, Clyfford Still,
以及罗斯科和戈特利布
along with Rothko and Gottlieb,
他们实验艺术的各种声音和样貌
and they were experimenting with the voice and the look of art.
在此之前，美国画家旅行到欧洲
Before this time, American painters, they travelled to Europe,
他们回来之后，就销声匿迹了
then they went home, and nobody really heard of them again.
二战刚结束后，这一切都变了。
Right after World War Il, all of that changes.
我认为抽象表现主义者，他们会关注宏大的想法
I think the abstract expressionists were interested in big ideas,
宏大的观念，基于人的活力和人的回应
big concepts based in human energy and human response.
他们投入了抽象之中
They launched into the abstraction.
你在面对一种色彩，或者一种抽象图形
You’re standing in front of a colour or standing in front of an abstract form
面对那些大画幅的作品，
and standing in front of large paintings, I mean,
非常大的画幅
very large paintings.
大画幅带来的成就或挑战同样巨大
I mean, it was just such a huge achievement or a challenge,
画这么大的画幅令人激动万分
excitement to paint something that large.
这对Rothko来说是个伟大的时刻，在这一刻，
And this is the great moment for Rothko in which the physical act
绘画的行动转变为观众的体验
of painting becomes the picture the viewer experiences,
反射的光与色的优雅
the elegance of reflected light and colour.
这些画家是世界的诉说者，在某种意义上，
These painters are the talk of the world, and, in some sense,
艺术世界的中心离开了欧洲，
the centre of the art world shifts from Europe,
离开了巴黎，落脚在美国，落脚在了纽约
from Paris in particular, to the U.S. and to New York.
我们仍在经历这个伟大的时刻。
It’s a huge moment that we’re- We’re still dealing with.
在40年代中期，
In the mid-1940s,
父亲进入了他第一次纯粹抽象时期
my father moves into his first purely abstracted style,
这就是后来著名的“多元造型”系列
which has come to be known as the Multiforms.
我相信那时父亲开始觉得画人体形态
I believe my father in some way began to feel that the human figure
影响了他与观众建立直接联♥系♥的能力
interfered with his ability to directly connect with his viewer.
我非常不情愿承认，画人体形态
It was with the utmost reluctance that I found the figure could not
无法达到我的目的，我们中没有人可以利用形态
serve my purposes, but a time came when none of us could use
同时不去破坏它
the figure without mutilating it.
他在尝试多元造型时产生了很多灵感
There were a lot of ideas that he was playing out with the Multiforms,
我察觉到一种丰盛，以一种优雅的方式呈现
and I feel a certain exuberance, in a refined way.
我是说，我觉得他本身不是那种热情丰盛的人
I mean, I don’t think he was an exuberant person,
但我感觉到一种兴奋，那种..
but I-I feel a sense of excitement in them, that he…
他发现了某种可以投入其中工作的对象
he was getting into something that was beginning to work.
有一种绘画技术叫做“日本画”（又称为胶彩画）
There’s a technical term called Nihonga,
是一种日本风格的绘画
which is Japanese-style painting.
感觉是画在纸上，绷在画布上
Feel the paintings done on paper, stretched over canvas,
用大概80-100层非常薄的矿物颜料开始画
starts with 80 to 100 layers of very thin mineral pigments,
这还只是刚开始
just to get it started,
对，我在涂层的时候直接借用了罗斯科
and, yes, I am directly quoting Rothko when I’m layering.
我觉得他会喜欢这种胶彩材料
I think he would have loved the material of Nihonga.
这是一项慢艺术，慢工程
It is slow art and slow work,
但我认为涂层一部分的意义在于
but I think part of the layering is
用不同的涂层捕捉时间感
to capture that sense of time in the layers.
马克·罗斯科不仅用涂层绘画，还用涂层来思考
Mark Rothko not only painted in layers, but he thought in layers.
他的文章清楚地表明
It’s very clear from his writings.
他有能力整合，甚至构建一种方式
He was able to integrate and even construct a way
使那些色块产生效果
the colour fields work,
这些图层以一种非常微妙地方式
and these layers work in very subtle ways that
打开了一个新世界
allow for a new world to open up.
这让我着魔
Just magical to me.
那完全说不通，但那就是你的体验
That doesn’t make sense, but that’s what you experience.
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