評論
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Narrator:Listen to part of a lecture in an Art History class.
獨白:聽下面一段藝術歷史的課堂講解
All right, so today we are moving on to Alice Neel, N-E-E-L.
好啦，今天我們來講一下愛麗絲. 尼爾，N-E-E-L。
Um...Alice Neel painted portraits, she was born in Pennsylvania, and she lived from 1900 to 1984.
愛麗絲尼爾是一位畫肖像畫的畫家，她出生于賓夕法尼亞州，生于 1900 年，于 1984 年去世。
And I guess you might say, she experienced difficulties as an artist.
我想你會說，作為一名畫家，她是經(jīng)歷了艱難險阻。
She was in her 70s, before she had her first major solo exhibition.
直到她 70 多歲的時候，她才有了一次自己的大型專屬畫展。
Um, and this is due at least in part to eh... or... because of photography.
呃， 這至少有一部分原因是歸結于攝影的出現(xiàn)。
After photography became regarded as an art form portrait painting became less prestigious, less respected as an art form.
在攝影作為一項藝術形式出現(xiàn)以后，肖像畫就變得不那么盛行了，也不再那么受尊崇了。
And, well, art photography kind of took its place, so you can imagine that a portrait artist would have had a hard time finding acceptance.
攝影有些取代了肖像畫的位置，所以你們可以想象作為一名肖像畫家，想受到關注一定是很難的。
Eh, but the real reason I want to look at Neel, is that I really find her style ... eh, she had interesting ways of portraying people.
呃，真正我去關注尼爾的原因其實是她的繪畫風格。呃，她描繪人的方式很有趣。
She combined some elements of realism. What's realism, Alison?
她在畫里面注入了一些現(xiàn)實主義元素。艾莉森，社么是現(xiàn)實主義？
It's like painting something exactly how it is, so an artist would try to make it as accurate, um... and objective as possible.
就是按照事物的本身來創(chuàng)作，畫家會盡量畫的逼真、準確。呃，而且盡量的客觀。
Painting stuff just how it appears on the surface.
就是表面上是什么樣子就畫成什么樣子。
Ok, good. So Neel combined realism with, well, actually, with expressionism. And that is? We, we just covered this.
好的，不錯。尼爾將現(xiàn)實主義呢，又融入了表現(xiàn)主義。這又是什么呢？我們其實剛講過這個問題。
Um…It's into emotion, like artists are trying to, well, express themselves through the painting, right?
呃，就是注入情感，就像畫家們試圖通過作品來表現(xiàn)出他們自己一樣，對嗎？
Yep. The artist is depicting subjective emotions, showing the inner reality as interpreted by the artist rather than the outward form.
是的。就是畫家在描繪主觀的情感，通過作品來表現(xiàn)出內在的真實而不是外在的形式。
So the image itself might be distorted or exaggerated in some way.
所以畫出的形象可能會在某種程度上變形或者夸張化。
The expression overrides objective representation.
表現(xiàn)主義就掩蓋了客觀的呈現(xiàn)。
Ok, so, Alice Neel combined these two styles ... Yes?
那么，愛麗絲尼爾就結合了這兩種風格。有什么問題？
Em... How is that even possible?
那怎么可能呢？
How can your portray something exactly as it is and at the same time distort it with emotions? I don't get it.
怎么可能一邊完全客觀的作畫，一邊又帶有感情的去使之變形呢？我不明白。
All right, good question.
好的，問的好。
It is actually a good lead-in to some of the techniques that Neel used, that she employed to bridge that contradiction.
你的問題可以作為引出尼爾技巧的開場白，她使用了一些技巧來消除這樣的矛盾。
In a minute, I'll show you some of her portraits, and I'll want you to notice a few things about them.
等一下，我給你們展示幾張她的作品，我希望你們能從中注意到一些東西。
First, Neel's use of bold color. All right?
首先，尼爾用色很大膽，對嗎？
You'll see she uses color to convey emotion and feeling, like the subjects' clothing for instance, it appears brighter than it really is.
你會發(fā)現(xiàn)她使用顏色來抒發(fā)情感和感受，比如說畫中人的衣服，就比實際上的顏色要鮮艷。
And the subjects, the people being portrayed, Neel paid special attention to faces.
畫中的人物呢，尼爾更注重面部的勾畫。
The way she paints the eyes and how the faces are portrayed, these are quite realistic, like the realists' work.
她畫眼睛的方式及對面部的勾畫都是非常現(xiàn)實的，和現(xiàn)實主義畫家的作品一樣。
But another thing Neel did was use elongated, sort of stretchy figures.
但是尼爾還運用了將人物拉長的這種繪畫手段。
But didn't a lot of expressionist painters do that?
但是不是很多表現(xiàn)主義畫家都這樣做嘛？
So really your are saying that Neel's techniques were similar to what other artists were doing.
所以你所謂的尼爾的技巧和其他畫家的技巧其實是一樣的啊。
What was it that she did, that was like all her own?
那么什么是她自己專屬的風格的？
Ok, well, I think it has to do partly with the way she combined these techniques.
好的。我想是和她能將這些技巧結合的使用有關系。
So, for example, those realistic faces and eyes, but bright, distorted figures.
比如那些現(xiàn)實的臉和眼睛，配上艷麗的扭曲的身體。
It is a mix.
這是一個混合體。
You'll see that her portraits do reflect reality, the people that were actually sitting there.
你會發(fā)現(xiàn)她的肖像畫的確反射出現(xiàn)實來，人們確實是坐在那里的。
Realism was important in the sense that she wanted to show people as they really were, much like a photographer would.
現(xiàn)實主義體現(xiàn)在重要的一點就是她想給人們展示人物真實的樣子來，就像攝影師一樣。
But Neel wasn't satisfied with photo-like realism, she went beyond that.
但是尼爾并不滿足于如照片般的現(xiàn)實主義，她有所創(chuàng)新。
And this is where expressionism comes in.
那么這就出現(xiàn)了表現(xiàn)主義。
She believed in capturing the whole person, not just what was on the surface, that's where the expressionists' distortion is important, in an attempt to reveal the subjects' character or personality.
她堅信要捕捉到整個人物的特點，而不是表象的東西，這就體現(xiàn)了表現(xiàn)主義扭曲的重要性，試圖顯露出人物的性格及特點。
But Neel's paintings are distinctive for her time in part because they are portraits.
但是尼爾的作品在那個時期之所以與眾不同是因為它們都是肖像畫。
Remember I said hat photography and art photography had largely taken the place of portraiture, to the extent that some critics had declared the genre of portraiture to be dead.
還記得我說攝影及攝影藝術很大程度上代替了肖像畫的位置吧, 以至于達到了某些評論家宣布肖像畫流派將會銷聲匿跡聲的程度。
But Neel felt that painting should reflect reality, a real realist's stance you could say.
但是尼爾認為畫畫就是要反射現(xiàn)實, 展示出一個現(xiàn)實主義者的立場。
And to her, individuals, people best reflect the reality of their time, of the age that they lived in, so she painted portraits.
而對她來講, 在她生活的那個年代, 人物是最能體現(xiàn)現(xiàn)實的, 所以她繪制肖像畫。
And if you look at her work, we are talking in the vicinity of three thousand paintings.
如果你們來看她的作品的話, 那可是三萬件左右的作品啊。
If you're looked at them, it is like this gallery of the whole century, an enormous range of subjects:
當你們看她的作品的時候, 就好像是整個世紀的藝術長廊, 畫中涉及了太多的人物,
families, women, children, artists, and people in poverty--these paintings really span class, age and gender.
有家庭、女人、孩子、藝術家、窮人…這些作品跨越了階級、年齡以及性別。
It is like she transformed the genre, it is not just formal depictions of presidents and ancestors any more.
就好像是她轉變了這個流派，而不再是去繪制很正式的總統(tǒng)或者祖先的畫像。
But keep in mind that she was doing this when abstract art dominated the art scene.
但是要記住這一點，在尼爾的那個年代抽象藝術極具盛行。
Representations of people weren't fashionable in the art world.
展示人物在藝術界里并不流行。
And it wasn't until fairly late in the century that critic recognized the power of what she did.
而且直到上個世紀晚期，評論家們才意識到她說的話的重要性。
