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[旷世杰作的秘密] The Private Life of A MasterPiece-The Sunflowers-5

(2009-07-28 00:19:32)
标签:

杂谈

分类: 绘画艺术
 
This might have marked the end of the story for the Sunflowers,“向日葵”的故事原本会就此落幕,
but Vincent had a resourceful sister-in-law Johanna Van Gogh.
还好梵高有个足智多谋的弟媳乔安娜。
When her husband Theo died just six months after Vincent,
她的丈夫提奥只比梵高多活了6个月便撒手人寰,
she found herself custodian of nearly 2,000 paintings and drawings.
新寡的乔安娜继承了将近两千幅画作。
 
John Leighton (Van Gogh Museum, Amsterdam):约翰·雷登 (阿姆斯特丹梵高博物馆主任)
Now picture yourself as a young widow with a newly born child,
乔安娜年纪轻轻就守寡,而且才当上妈妈。
you suddenly come into possession of all these works by your dead brother-in-law.
突然继承了死去大伯的遗作。
What do you do?
她会怎么做呢?
I think it’s to her eternal credit that she didn’t dump the lot,
令人钦佩的是她没有抛售这批画作,
but she moved back to Holland,
而是搬回荷兰,
and started to in a way make her life’s cause to promote the reputation of Vincent Van Gogh.
并且想办法开始打响文森特梵高的名号。
 
Her house in the Netherlands was a remarkable sight.乔安娜位于荷兰的住所令人啧啧称奇。
The Sunflowers jostled for wall space with The Yellow House.
墙上“向日葵”和“黄色小屋”等杰作鳞次栉比。
Masterpieces were crammed into every available space even behind the bath.
连浴缸后面都挂了画。
28 year old Johanna who was trained as a teacher and was an unknown figure in the art world 28
岁的乔安娜原本是个老师,在画坛上毫无地位,
had a huge task ahead of her.在她面前的是一个艰巨的挑战。
 
Chris Stolwijk (Van Gogh Museum, Amsterdam):克里斯·斯托维克(阿姆斯特丹梵高博物馆研究组长)
There was this wish by her beloved husband Theo to spread the name of Vincent around the world.
她亡夫提奥一直想让全球都知道梵高的名声.
Her devotion grew over the years.
她的决心与日俱增。

When she started to read the letters of Vincent,
乔安娜开始阅读梵高写的信后,
she got interested in this remarkable man and his remarkable art.
对这个了不起的人和他了不起的艺术产生了兴趣。
 
Johanna Van Gogh mastered the way the art world worked.乔安娜很快就搞清楚艺术世界的运作。
By lending painting to galleries and art dealers, she engineered a steady increase in Vincent Van Gogh’s reputation.
她把画作借给画廊与画商,稳定地累积文森特梵高的知名度。
 
Chris Stolwijk (Van Gogh Museum, Amsterdam):克里斯·斯托维克(阿姆斯特丹梵高博物馆研究组长)
Her task grew during the years,
她越来越忙,
and finally it was a day-to-day business for her.
最后成为全职画商。
 
Johanna was so successful that within ten years of her acquiring the paintings,乔安娜非常成功,在继承画作十年之内,
fake Van Gogh’s were appearing on the art market.市场上就充斥着梵高的假画。

Christopher Riopelle (National Gallery, London):
里斯托弗·瑞波尔(伦敦国家画廊19世纪作品馆馆长)
Fakery is a kind of a compliment.模仿是至高的赞美。

It’s only when you are much admired that people fake your paintings.
只有很有地位的画家,其作品才会被人伪造。
So it’s a very fast trajectory.
所以他成名得很快。

Fakes eventually became such a problem that
由于假画充斥,
a handbook Les Faux Van Gogh was published to distinguish the genuine articles from imitations.
有人出版了一本专门教人辨别真伪的手册。
Alongside this authentic self-portrait is an imposter.
比方说这幅自画像旁边的那副就是假的,
A Sunset In Arles that never happened,
还有一副无中生有的亚尔夕阳,
and vase upon vase of sunflowers that never bloomed.
和族繁不及备载的假“向日葵”。
More and more people wanted to cash in on Van Gogh.
越来越多的人想利用梵高发财,
Not least Paul Gauguin.
其中自然少不了高更。
Gauguin who had exiled himself to Taihiti began to worry about his own role in the Van Gogh myth.
在大溪地自我放逐的高更开始关心他在梵高神话中的地位。
15 years after walking out of the Studio of the South, he wrote his memoirs,
他在离开南方画室15年后写了自己的回忆录,
where he did his best to appropriate the Sunflowers for himself.
极力把“向日葵”变成自己的功劳。
“I undertook the task of enlightening him.
“我负起开到他的责任。
An easy matter, for I found a rich and fertile soil.
这倒不难,因为梵高一点就通。
My Van Gogh made astonishing process…
他的功力突飞猛进,
and the result was that whole series of Sunflowers upon sunflowers in full sunlight”.
创作了一副又一幅盛开在艳阳下的‘向日葵’。”
 
There is a more telling, more touching and perhaps more truthful epitaph to their friendship.不过有件事倒是比较真挚诚恳地悼念了他们逝去的友情。
Douglas Druick (Art Institute of Chicago):道格拉斯·笍克(芝加哥艺术学院中世纪及现代部组长)
He asked friends in Paris to send seeds 他请在巴黎的朋友寄向日葵种子给他,
that he could plant in his garden to give him some pleasure and consolation.
他把向日葵种在花园里以得到一些慰藉。
The sunflowers come up and he paints them.他描绘了盛开的向日葵。
These are clearly pictures in which he pays homage to the relationship.
他显然是用这些画作纪念两人间的友谊。
 
But the detail of the relationship was beginning to disappear behind the myth of Van Gogh and his Sunflowers.但这段友谊的细节开始消失在梵高和他的“向日葵”之后。
 
The painting first arrived in London in 1923 on loan,这幅画最先是在1923年出租给伦敦展出,
but the National Gallery became frantic to acquire it for their permanent collection.
但国家画廊说什么都要买下这幅画。
The only problem was that the painting wasn’t for sale,问题在于这幅画是非卖品,
and Johanna remained unmoved by the Gallery’s initial requests.
乔安娜对画廊的请求不为所动。
“The ‘Sunflowers’ are not for sale, never.
“‘向日葵’是非卖品,绝对不会卖的。
They belong in our family.”
它们属于我们家。”
 
Christopher Riopelle (National Gallery, London):克里斯托弗·瑞波尔(伦敦国家画廊19世纪作品馆馆长)
The trustees decided that they really wanted a “Sunflowers”.
理事会铁了心坚持要买一幅“向日葵”。
Already by 1924,
早在1924年,
“Sunflowers” was absolutely central in the public’s imagination to what Van Gogh did.
“向日葵”就已经成为人们心目中梵高最重要的作品。
Following up, the Gallery brazenly appealed on behalf of the greater glory of England.之后,国家画廊为了大英帝国的面子厚着脸皮再三恳求乔安娜。

“Dear Madam Van Gogh,“亲爱的梵高夫人,
Vincent Van Gogh should be represented at his highest level in the British National Collection.
文森特梵高的画应该成为英国国家画廊最重要的馆藏。
And you would be doing his memory and England a great service,
若您原因重新考虑此事,
if you would reconsider this matter.
不论是对他还是对英国都是一大幸事。”
 
Johanna considered this masterstroke of diplomatic persuasion,乔安娜慎重考虑了英国画廊巧妙的外交游说,
and against all odds sweetly gave away to it.
答应了国家画廊的请求让大家贴破眼睛。
“Dear Mr. Aitken, I have tried to harden my heart against your appeal.
亲爱的艾肯先生,我原本想硬起心肠拒绝您。
I felt as if I could not bear to separate from the picture I had looked on every day for more than thirty years.我实在舍不得和这幅陪伴我三十多年的画分开。
But I know that no picture would represent Vincent in your famous Gallery in a more worthy manner than the Sunflowers,
但是我知道只有‘向日葵’才能在您的画廊里将文森特过人的才华展现得淋漓尽致,
and that the painter of Sunflowers’ would liked it to be there.
‘向日葵’的作者也会希望它能以国家画廊为家。
I remain, Dear Sir. Yours sincerely, Joanna Van Gogh”
您忠实的友人乔安娜梵高敬上”
 
The Sunflowers arrived on the Gallery’s wall on February 6, 1924.192426“向日葵”正式进驻国家画廊
Since then, its fame has never for a moment dimmed.
此后其声望与日俱增。
Homages to the image have come in all shapes and sizes…向“向日葵”致敬之作更是林林总总
 
The association between the “Sunflowers” and money is pervasive.“向日葵”和金钱的关系已经密不可分。
In 1987, Van Gogh’s first copy of the National Gallery painting came to auction at Chrisrie’s.1987
年,佳士得拍卖了梵高仿制国家画廊“向日葵”的第一幅作品(即梵高向日葵系列的第九幅)
By now, it was such a famous image that no one dared guess just how much it would sell for.
这时候“向日葵”已经有名到没人敢猜测其售价的地步。
Even so, what happened in the auction room on March 30 amazed all observers.
尽管如此,330的拍卖会还是让所有观察家大吃一惊。
The biding began at 5 million pounds and went up and up and up.
起标价是5百万英镑,然后一路攀升。
Just eleven seconds into the bidding,
拍卖开始仅11秒,
the previous auction record for any painting: 8.1 million pounds was broken,
就打破了画作最高拍卖纪录810英镑,
and still it went on.
但“向日葵”还没有结标。
22.5 million pounds, deal.2250
万英镑,最后一次。

Leo Stevenson (Artist):里奥·史蒂文森(艺术家)
Poor old Vincent, it’s romanticism of his life styles.可怜的文森特,他的一生极具传奇色彩。
It’s the power of his works that people plug into and of course that’s what makes him famous.
人们欣赏的是他作品中的力量,这也是他出名的原因,
That’s probably why his works are so valuable.
可能也是他作品这么值钱的原因。
Because all these pinstriped suits that buy his pictures secretly want to be him.
因为这些抢购他作品的有钱人私底下都想变成他。
 
Richard Cork (Art Critic):理查德·库克(艺术评论家)
I think it’s so ironic.这实在太讽刺了。
Because, of course, everybody knows he couldn’t sell his work.
因为大家都知道梵高在世时作品乏人问津。
He was entirely reliant on his brother’s generosity.
生活全靠弟弟接济。
 
In the National Gallery shop, the relationship between money and Van Gogh’s Sunflowers is sustained daily.梵高的“向日葵”和金钱的关系在国家画廊的礼品店里更是清楚可见。
Candles, pens, pencils, clocks, watches, brooches,
蜡烛、钢笔、铅笔、时钟、手表、别针,
mini prints, large posters…
小型复制图、大型海报

and the postcard is the thing that sells the most,
销路最好的是明信片,

and actually bring in one of the highest revenues.
是最高赚钱的商品。
The trustees made a shrewd move when they invested in the Sunflowers back in 1924.
理事会1924年投资“向日葵”是很明智的举动。
It’s made around 2 billion pounds for the Gallery in postcards and tea-towels.
画廊光是卖明信片和擦碗布就赚了两亿英镑。
Not a bad return for a painting which cost 1325 pounds.
相对于花费1325镑的“向日葵”来说实在是一本万利。
 
Richard Cork (Art Critic):理查德·库克 (艺术评论家)
I used to haunt the National Gallery on Schoolboy trips.以前我校外教学时常常去国家画廊。

But whenever I got to that room where the Sunflowers hung,
但我每次走进悬挂“向日葵”的展示厅时,
I’ve always just stopped in my tracks.
总会停下来看。
You feel that you’ve never really seen those flowers before or indeed any flowers like that before,
你会觉得自己从来没看过像这样的花朵,
and you become very, very involved.
因而会看得出神。
 
“It’s got fantastic colors, and it’s sort of like erh… “这幅画的色彩很棒,
It’s really looked at and worked at, and it doesn’t seem like it is.”
尽管看起来很随意,其实是经过精心布局雕琢的。”
 
Leo Stevenson (Artist):里奥·史蒂文森(艺术家)
He said sth. about a very humble subject in a very particular way that captures people’s imaginations.他说过以特殊手法呈现的平凡事物往往最能虏获人们的想象力。
 
Van Gogh died impoverished.梵高死的时候很穷。
His vision of the Studio of the South in an embarrassing delusion.
他对南方画室的梦想成为令人难堪的幻想。
But in Sunflowers,
但在向日葵画作中,
he achieved one of his ambitions magnificently.
他以惊人的手法实现了他的野心。
 
Christopher Riopelle (National Gallery, London):克里斯托弗·瑞波尔 (伦敦国家画廊19世纪作品馆馆长)
The way in which people relate to Van Gogh is extraordinary.人们跟梵高作品的互动很不寻常,

The identification that they feel with this person and with these incredibly vibrant images is unprecedented.
人们很能认同梵高以及他笔下那个鲜明的世界。
It’s a very direct and immediate experience for very many people.
他的作品直接而又迅速地感动了很多人。
 
Above all else, Van Gogh wanted to communicate through his art.梵高最渴望的就是透过他的作品与人沟通。
The millions who spent time with his Sunflowers year by year would say he succeeded.每年来看“向日葵”的数以百万的人应该会觉得他成功了吧?
Whatever Van Gogh had to give, that’s not about suffering,梵高这幅画里看不到苦难,
his hope, his gratitude and his friendship is packed into this painting.
只有希望、感激和友情。
and in sensing that people feel for him and with him.
所以人们被他感动,也陪着他感动。

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