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翻译：麦克杜格 文忙小英熊 小侠 暖玉 天朝直属
校对：Leona 时间轴：小萌
后期：鱼骨头 总监：Leona
印象派: 绘画与革命
最终的繁荣
这是本系列最后一集 This is the last film in the series.
我们将在本集中探讨一些 It's where we explore some complex technical issues
有关色轮和视觉的技术问题 about colour wheels and optics,
所以我在检测各种设备 so I'm just testing all the equipment,
确保它能正常工作 making sure it's working.
神奇的光轮 The magic wheel of light...
好了 运行完全正常 Yep, that's working perfectly.
莫奈的眼镜很棒 Monet's glasses are perfect.
什么都看不到 Can't see a thing.
好的 一切正常 我们准备好开始了 Good! That's all working. So we're ready to go
印象派故事的最后一集 with the final film in the story of Impressionism.
*Though it hardly looked like a novel at all*
*And the city treats me, it treats me to you*
*And a cup of coffee for you*
*I should learn its language and speak it to you*
*And 70 million should be in the know*
*And 70 million don't go out at all*
*And 70 million wouldn't walk this street*
*And 70 million would run to a hole*
*And 70 million would be wrong, wrong, wrong*
*And 70 million never see it at all*
*And 70 million haven't tasted snow*
主持人 瓦尔德玛·雅努史扎克
国家高等美术学院
这里是位于巴黎的国家高等美术学院 This is the Ecole des Beaux-Arts in Paris,
法国最富盛名的艺术学校 France's most prestigious art school.
由路易十四于1648年创建 It was established in 1648 by Louis XIV,
因此这里是艺术史上历史最悠久的 so this is one of the most historic locations
地点之一 in the story of art.
在介绍印象派的节目中 我通常不会 Usually I wouldn't bring you anywhere near here
带大家到这样的地方 in a film about the Impressionists.
印象派富有现代气息 Impressionism was modern,
而这里却恰恰相反 and this place isn't.
即便如此 美术学院仍然 Perversely, though, the Ecole des Beaux-Arts
在印象主义的故事中扮演了重要的角色 played a huge role in the story of Impressionism,
因为这间显赫的艺术学院 because this grandest of art schools
就是乔治·修拉学习过的地方 is where Georges Seurat studied.
是的 修拉 色点之王 Ah, yes - Seurat, king of the dots!
印象派历史上最著名的几幅作品之中 He painted some of the best-known pictures
就有他的创作 in the chronicles of Impressionism.
但这个人本身却是个迷 But the man himself was a mystery.
他唯一一张流传至今的照片就是这张 The only photograph you'll ever see of him is this one.
而唯一能使人窥探他想法的就是他的作品 And the only real evidence of his thinking is his art,
其中饱含着奇怪的不自然感 with its strange stiffness,
和令人迷惑的色点 and those puzzling dots.
本集讲述的是印象派最后的时光 This is a film about the final days of Impressionism,
它的终结 和它的转化 how it ended and what it became,
因此 理所当然 修拉需要重点关注 so of course Seurat has to feature.
修拉应毕沙罗之邀 参加了印象派画展 Seurat was invited to show with the Impressionists by Pissarro.
他当时默默无闻 He was completely unknown then.
但当这幅著名的画作 But when this famous picture,
《大碗岛上的星期日下午》 A Sunday Afternoon On La Grand Jatte,
1886年展出于最后一次印象派画展时 popped up in the last Impressionist exhibition of 1886,
所有人都注意到了它 everybody noticed it.
印象主义显然是关注新鲜事物的 Impressionism was obviously on to something new here.
可这到底是什么 But what the hell was it?
如果你询问十个艺术批评家对修拉的看法 If you ask ten art critics about Seurat,
你会得到十种不同的观点 you'll get ten different opinions.
他是一位如此自我而难懂的画家 He was such a private and elusive painter,
将一切都封锁在自己的脑海中 kept it all locked away, stored in here.
直到修拉的到来 Until Seurat arrived,
印象派才最终能够抓住瞬间 Impressionism had been happy to capture the moment,
活在当下 and to live for the present.
想想你在前几集中看到的生活的乐趣 Remember all that joie de vivre you saw in the earlier films -
雷诺阿的泛舟派对 Renoir's boating parties,
莫奈的美好时光 Monet's beautiful days.
突然间这些都显得不够了 Suddenly none of it seemed enough any more.
修拉的作品刻画的是一些更深刻 Seurat's pictures are looking for something deeper,
更稳重 less fidgety,
更永久的东西 more permanent.
修拉自1878年进入国立高等美术学院学习 Seurat was a student here at the posh Ecole des Beaux-Arts from 1878.
他在这里待了两年 He was here for two years,
被传统包围着 surrounded by the past.
他的父母很富有 所以他从不需要工作 His parents were very well off, so he never had to work,
按理说 他理应成为 and by rights, he should have become
一位非常传统而且保守的画家 a very traditional and conservative painter,
就像这些作品的作者 the kind of artist who does this.
但是他没有 取而代之 But he didn't. Instead,
修拉成为了这样的画家 还有这样 Seurat became this sort of artist, and this.
这些作品无论何时都是不可思议的 These were, are, and always will be strange pictures.
其中的第一幅 《安涅尔浴场》 And the first of them, The Bathers At Asnieres,
在他刚刚23岁时就开始创作了 was begun when he was just 23 -
他第一幅杰作 his first masterpiece,
已然如此令人疑惑 and already so puzzling.
我认为画的是这里 看到那座桥了吗 I reckon it was painted about here. See that bridge there?
那是安涅尔的铁路桥 That's the railway bridge at Asnieres,
你可以看到这个距离刚好就是修拉画中 and you can just about make it out way in the distance
桥与沐浴者之间的距离 in Seurat's Bathers.
这是河边一个晴朗的日子 可能是周日 It's a sunny day by the river, probably a Sunday.
那是巴黎的工人们休息的日子 That was when working men in Paris generally had their day off,
而所有这些安涅尔的沐浴者都是工人 and all the bathers at Asnieres are working men.
能从他们的工装裤和扁平圆顶礼帽看出来 You can tell from their overalls and their battered bowler hats.
或许他们就在画中远处的 Perhaps they're workmen from the factories
位于克利希的工厂里面工作 you can see in the distance at Clichy.
克利希成为了一个繁忙的工业区 Clichy had become a busy factory district,
所以这些河边的小伙子们可能都是工人 so all the chaps by the river here could be workmen
一起用一种男人的方式消磨假日 taking time off together in a bloke-ish fashion, as blokes do.
沐浴传统上是一项针对女性的创作素材 Bathing was traditionally a feminine subject in art,
为淘气的大师们 an excuse for naughty old masters
描绘赤裸潮湿的妙龄美女提供了借口 to paint beautiful young women naked and wet.
因此 修拉 仅仅将目光放到男性上 So Seurat, by confining his picture to men,
已然极具革命性 且反叛意味十足 is already being revolutionary and confrontational.
在水中的一个男孩 背对着我们的这个 One of the boys in the water, the one with his back turned to us,
原型显然来自于卢浮宫中的一幅 is clearly based on a famous painting by Ingres
由安格尔创作的名画 《瓦平松的浴女》 that hangs in the Louvre - the Valpincon Bather,
一个神秘的东方女奴 a mysterious Oriental odalisque
她的裸背可以让男人变得狂野 whose naked back would drive men wild.
在修拉的母校 高等美术学院的 Actually hanging in the chapel at the Ecole des Beaux-Arts,
小教堂中悬挂了 where Seurat studied,
一套皮罗·德拉·弗朗西斯卡作品的摹本 was a set of copies of Piero della Francesca,
他是文艺复兴早期 风格最为稳重光明的大师 the calmest and most luminous of Renaissance Old Masters.
这幅画悬挂在这里 是为了激发学生的灵感 They were hung there to inspire the students,
这一做法显然有效 因为修拉画中这个 and they obviously did, because Seurat took the pose
坐在河边的人的姿势 直接取材自皮罗的画 of the man sitting on the riverbank directly from Piero.
如果你看了这个系列的其他几集 If you've been watching the rest of this series,
你会发现一个又一个画家 you'll have seen painter after painter
都曾特意模仿过先前的大师们 deliberately taking on the Old Masters.
雷诺阿和德加均是如此 修拉也不例外 Renoir did it, Degas, and now Seurat.
他们的出发点都是想证明 All of them set out to prove
现代世界可以像古代世界那样不朽 that the modern world can be just as monumental,
那样壮观 那样美丽 just as heroic and beautiful, as the ancient world.
最终 也许是印象派画家试图传达的 In the end, it's probably the most important
革命性的信息中最重要的一条 of all Impressionism's revolutionary messages -
现在与过去同样宝贵 the present is just as precious as the past.
修拉是如此地严守秘密 Seurat was so secretive
直到他去世前 他才告诉自己的父母 that he only told his parents he had a mistress and a son
他有一个情妇和一个儿子 the day before he died.
直到那之前 没有人知道 Till then, no-one had known
丰满的马德琳·克诺布洛赫是修拉的情人 that the bosomy Madeleine Knobloch was Seurat's lover
和他孩子的母亲 and the mother of his child.
要解读如此神秘的一个人 With a man as secretive as this,
要进行深入的挖掘才可以 you need to dig deep to break the code.
所以修拉没有在学校待很长时间 对吧 So Seurat wasn't a student at the Ecole for very long, was he?
是的 他只在这里学习了两年 No. He had been a student for two years only.
他入学的成绩就不好 He was admitted with bad marks,
之后就越来越糟 and his marks were worse and worse,
因为他不是一个守旧的学生 because he was not a conventional student.
关于修拉另一件十分重要的事情是 The other thing that was very important for Seurat
当他在这所高等美术学院时 when he was here at the Ecole
伊曼纽尔·施瓦兹 法国国家高等美术学院图书馆员
他接触到了许多科学书籍 was his exposure to lots of scientific books.
有一本著名的书叫作《艺术语法》 I mean, there's a famous book called The Grammar Of Art
作者是查尔斯·布兰科 当时是这里的主管 by Charles Blanc, who was actually director here, wasn't he, at the time.
绘画艺术语法
是的 查尔斯·布兰科写了这本书 Yes. Charles Blanc wrote this book,
《绘画艺术语法》 Grammar Of The Art Of Drawing.
这说明查尔斯·布兰科发现了颜色 It means that Charles Blanc discovered laws for colours
和线条的法则 暖色 and for lines - warm colours,
和向上的线条 and lines going up,
传达了欢乐愉悦的感觉 convey a feeling of joy, of pleasure.
-幸福感 -幸福感 - Happiness. - Of happiness.
色环 原色
当然 冷色和暗色 Of course, with cold colours and dark colours,
代表了悲伤 it's an impression of sadness.
你这里这些书 You've got here the actual books
色环 复色
就是修拉当时在图书馆中读到的那几本 that Seurat could have looked at in the library.
这本是其中对他最重要的一本 This is, I know, one of the most important for him.
谢弗勒尔所著的色彩理论 This is Chevreul, with his theories of colour.
这本书最先引起人注意的 The first thing, of course, you see about it
就是 书中的大部分插图 is that most of the illustrations
都是这一排排美丽的色点 are these beautiful arrays of dots.
是的 这些书中总结了各种颜色的用法 Yes. There are lots of experiences about colours in those books.
比较偏科学读物的性质 Of course it's rather scientific,
但其出版目的是旨在让画家作参考 but it was meant to help the painters.
修拉一定参考过这种图书 对吧 Well, it certainly helped Seurat, didn't it,
因为修拉的画作上所有色点的颜色 because, if you're looking for the origin of Seurat's dots,
都能够在这本书上找到 是吧 I think you don't need to look much further than here, do you?
好复杂 It's complicated.
修拉的作品上为何布满色点呢 Why did Seurat paint dots?
这是我们首先要解释清楚的问题 It's the first thing we need to clear up.
那些色点的作用何在 What were the dots supposed to do?
为了一探究竟 我将国家高等美术学院的 To find out, I've transformed the old chapel
老教堂变成了修拉实验室 at the Ecole des Beaux-Arts into a Seurat laboratory,
我们将在这里向大家演示几个实验 where we're going to carry out some experiments...
关于颜色的实验 with colour.
好吧 这些实验器械算不上尖端 OK, it's not state-of-the-art,
但同时我也很怀疑修拉或者说他画的色点 but, then, I'm not sure that Seurat or his dots
是否真如他自己认为的那么科学 ever were quite as dauntingly scientific as he made out.
能够确定的一点就是 What's certain is that
人们在那个年代对颜色进行了极为深入的探究 this is the great period of colour exploration.
学者们为解释颜色的特性 Various theories were being proposed
提出了各种各样的科学理论 to explain the behaviour of colour,
而人们最先探索出的一项原理 and the first thing to grasp here
就是颜料的颜色 is the difference between colour as a pigment...
与光线的颜色有所不同 and colour as light.
颜色与光线有着不同的特性 Pigment and light have different properties.
若将蓝色 红色和绿色的颜料混合起来 If I mix blue, red and green as pigment,
会得到一团乱糟糟的深棕色 I end up with a dark-brown mess.
但如果我混合蓝光 红光和绿光 But if I mix them as light...
则会得到相反的效果 the opposite happens.
蓝 红和绿混合成了白色 Blue, red and green become white,
至少是亮灰色 or, at least, a luminous grey.
修拉将颜料以斑点状呈现在画面上 What Seurat decided to do was to put down his pigments in blobs or dots,
目的在于不让颜料在画布上混合为一体 so that instead of mixing on the canvas,
而是令颜料反射出的光线在观众眼中融合 they would mix in your eye,
这样一来 画面就显得亮堂而充满光泽 in a manner that was luminous and full of light.
修拉运用他那炉火纯青的点彩法造诣 The culmination of Seurat's investigations into dotty-ism,
创作的登峰造极之作 是幅无比神秘的场景 his masterpiece, was this unmistakably mysterious scene
即《大碗岛上的星期日下午》 of A Sunday Afternoon On The Grande Jatte.
这幅画作简直是太奇怪了 It's such a strange, strange picture.
我已特地来芝加哥欣赏过好几次了 I've come here to Chicago to see it maybe a dozen times now,
但却仍是一头雾水 and I still don't really get it.
这幅作品在1884年诞生 实在不可思议 What a thing to come up with in 1884!
彼时的美国 Here in America,
还处于水牛比尔和坐牛首领的时代 Buffalo Bill was still shooting at Chief Sitting Bull.
[分别为美洲野牛猎手和印第安部落领袖]
但在蒙马特 修拉却坐在那神秘的科学画室 But in Montmartre, in his mysterious scientific studio,
绘制着这幅图画 Seurat was concocting this.
它不禁令我联想到庞贝遗址中 It reminds me of those frescoes in Pompeii
那些湮没在维苏威火山灰之下的壁画 that were trapped under the ashes of Vesuvius.
历史在那一刻凝固了 History has been frozen.
短短一瞬竟变成了永恒 A moment in time has been turned into something eternal.
大碗岛是塞纳河上的一座小岛 La Grande Jatte was a tiny island on the Seine,
每到周日 巴黎城中渴望休闲的人们 upon which Parisian leisure-seekers
便会成群结队地来到这座小岛上 would descend in droves on a Sunday
散散步 调调情 to stroll about, parade and flirt.
时至今日 这里已是一片荒芜 These days it's a dump, frankly.
上流社会的人们已不再来这里游玩 Fashionable society doesn't come down here any more.
他们将大碗岛的堤岸 They've left the banks of La Grande Jatte
让给了瘾君子和慢跑者 to the junkies and the joggers.
但当修拉在19世纪80年代绘制这幅画时 But in Seurat's day, in the 1880s,
这里却是游人的不二之选 this was THE place to go,
上流社会的年轻小伙子更是对这里情有独钟 particularly if you were a fashionable chap
因为他们想结交的单身姑娘 looking for an unattached girl -
大碗岛上可谓是应有尽有 because La Grande Jatte was full of them.
时人称其为爱之岛 It was known as the island of love,
而许多时髦的女子 and a good many of the fashionable ladies
身着节日盛装 貌似来大碗岛上徜徉 strolling around La Grande Jatte in their Sunday best
实则是在努力寻找潜在的"客户" were working girls fishing for clients.
1886年的第八届印象派画展上 Everyone looking at this picture
所有欣赏此画的观众 in the Eighth Impressionist Exhibition of 1886
定能立即理解修拉画中的寓意 would have known immediately what Seurat was implying.
比如 这边的姑娘 I mean, this girl over here,
就是站在河边钓鱼的那位 the one fishing on the riverbank -
她根本就不像是真正的垂钓者 she doesn't look like an angler to me.
那么她究竟在钓什么呢 What's she really fishing for?
而这对离我们很近的"夫妇" And the big couple over here...
在我们看来 他们体面得不能再体面了 To us they seem terribly respectable,
身材高挑 气质优雅 so tall and stately.
然而当时欣赏修拉画作的观众却能一眼看出 But Seurat's audience would have known at once
他是位嫖客 that he was a client
而她则是位妓女 and she was a prostitute.
在画面正中 最中心而显眼的位置 In the middle of the picture, so central and important-looking,
修拉描绘了一位母亲 带着天使般的女儿 Seurat has placed a mother and her angelic daughter,
小女孩穿着白色连体裙 dressed all in white.
她们似乎直视着我们 They seem to be looking straight at us,
正像是直视着未来 straight at the future, as it were.
修拉似乎在发问 她们将拥有怎样的未来 What does that future hold for them, Seurat seems to be asking.
每一位在大碗岛上无忧无虑奔跑的小女孩 What does it hold for all the little girls
她们都将拥有怎样的未来 running around La Grande Jatte so innocently?
修拉之所以创作《大碗岛》 是受到了 La Grande Jatte was inspired by another painting
另一幅也藏于芝加哥的作品影响 that's also here in Chicago -
那就是《圣林》 The Sacred Grove,
作者是皮维·德·夏凡纳 by Puvis de Chavannes.
皮维是法国艺术界的元老 Puvis was the elder statesman of French art.
他那暗淡而神秘的象征主义画风 His pale, mysterious symbolism
为众多印象派画家所推崇 修拉尤甚 was much admired by various Impressionists, especially Seurat.
修拉"让一瞬间凝固在画纸上"的理念 That sense of being frozen in time
一定是从皮维那里继承而来的 is something that Seurat definitely took from Puvis.
但皮维的画作并非在描画当时的世界 But Puvis' picture isn't set in the modern world.
他创作的情境穿越时空 到达远古时代 It's set somewhere way back in time,
一座恬静而富神话色彩的小岛之上 on an idyllic mythological island,
九位掌管艺术的女神 where the nine muses of art
正在一起散步 思考 舒展婀娜的身姿 have gathered to stroll and think and look lovely.
而修拉的这幅画 So what Seurat has done...
则是《圣林》的升级版 is to update The Sacred Grove,
他想借此向世人展示 同是一座小岛 to show us what such a place might look like
在公元1884年与公元前有着怎样的区别 in 1884 AD rather than BC.
《大碗岛》向我们揭示了现代世界的模样 La Grande Jatte shows us what the modern world has become,
并诱使着我们将其与远古时代比较一番 and niggles us to compare it with what it used to be.
我还要讲一件非常重要的事情 There's something else that's important.
我敢打包票 这幅《大碗岛》 I'm absolutely certain that La Grande Jatte here
是画家特意创作的 was painted as a deliberate parallel...
《安涅尔浴场》的兄弟篇 to the Bathers at Asnieres.
这两幅画应该放在一起欣赏 The two pictures were meant to work together,
画家特意令它们相互呼应 a deliberate call and response...
右岸是巴黎上流社会的世界 between posh Parisian society on the Right Bank,
人们打着阳伞 精明强干 with its parasols and its smart folk,
而左岸则是工人阶层的天下 and the world of the workers on the Left Bank
远处工厂烟雾缭绕 烟囱喷着废气 with the belching factories and the smoking chimneys.
请看这位站在河里的男孩 Look at the way the boy here, the one in the water,
他正在热切地向河对岸呼喊 is calling over to the other side of the river...
而对岸的人们 where the people on the opposite bank
却如此静默而凝重地望着他 watch him so silently and glumly.
在塞纳河的右岸 On this side of the river,
硕大无朋而凶险无比的阴影 something massive and threatening has cast a huge shadow
笼罩着大碗岛 across La Grande Jatte.
但左岸则不然 But not on the other side,
尽管两幅画上太阳光的角度一致 even though the sun is in the same place.
左岸的人们 On this side of the river,
愿意脱掉上衣 尽情沐浴阳光 people take their shirts off and sit in the sun.
但在河对岸 On the other side,
所有人都藏在遮阳伞之下 且衣着保守 everyone hides under their parasols and keeps their tops on.
修拉从多方位描绘了现代的巴黎 So Seurat has produced a stereo image of modern Paris,
两幅画分别表现了两个极端 a heads and a tails...
现代世界的这两个极端 Two sides of the modern world
在塞纳河的两岸遭遇了 confronting each other across the river.
好的 接下来我将介绍修拉的光学理论中 Right. This is another crucial aspect
另一个至关重要的定理 of Seurat's optical theory,
即余象的重要性 about the importance of the afterimage.
十几秒后 你的屏幕会变成一片空白 In a moment, the screen you're watching is going to go blank,
白茫茫的一片 completely white.
但请大家千万别换频道 But please don't turn over to another channel.
请看下去 Keep watching.
如果你想了解修拉关于颜色的理论 If you want to understand Seurat's colour theory,
你就最好一直盯着屏幕看下去 you need to keep looking at this screen.
准备好了吗 好戏开始了 So, are you ready? Here we go.
看到红色的长方形了吗 一直盯着它就好 Right. See the red rectangle? Just keep staring at it.
别看别处 要一直盯着红长方形 Don't look away. Keep looking at it.
一 二 One, two,
三 别看别处 three...don't look away.
四 盯紧了 五 Four...keep staring. Five...
现在再看这里 看见什么了 Now look. What do you see?
一团绿色 对吧 A green shape, right?
你看到了吗 绿色的余象 Did you see it - the green afterimage?
那团绿色其实并不存在 That wasn't really there.
那只是你的视网膜上残留的影响记忆 That was just a retinal memory in your eye,
而修拉就是想借点彩法 and Seurat, with his dots,
来利用人的这种感知 was trying to control that sensation.
他知道 每填上一种颜色 He knew that when he put down a colour,
观者便能看到那种颜色的互补色 you would also see its complementary,
因此 当他填涂上红色 so when he put down red,
观者便会在红色的旁边看到绿色 you would also see green next to it.
而他之所以将绿色填涂在红色旁边 And if in his painting he actually put green next to red,
是因为他深知 这样绿色会显得更绿 he knew that the green would seem greener there
而红色则会显得更红 and the red would seem redder.
从理论上讲 他想让绘画发展成一门科学 In theory, he was trying to turn painting into science,
想掌控观者的视觉世界 to control your vision.
但他并没有圆满地实现这一构想 But he never quite pulled it off.
因为现实中总有太多方面难以权衡 In reality, there were just too many things to juggle with,
太多光学问题和太多色点难以处理 too many optical issues, too many dots.
创作这些大尺寸的旷世奇作耗神又费力 Working on these giant masterpieces was exhausting and demanding.
因此 《大碗岛》大功告成后 So when La Grande Jatte was finished,
修拉便转而开始创作小尺寸的海景 Seurat began a set of smaller views of the sea...
他先后描绘了多幅海景 his marine landscapes.
每年夏天 他都会来到法国的海岸旁 Every summer, he'd head for the French coast,
在小旅店或是民宿订上一间房 book himself into a small hotel or lodgings,
并开始一丝不苟地进行 and embark upon a meticulous campaign
海景绘制 of sea paintings.
修拉的海洋风景是他最为通俗 Seurat's marine views are among his most accessible
而讨喜的成就 and delightful achievements.
1885年起 每到夏天 Every summer from 1885,
他便四处游走 完成更多作品 he went somewhere else and did some more.
"让我们沐浴阳光直至沉醉" "Let's go and get drunk on light,"
他如是描绘自己前往大海的旅程 He wrote of his journeys to the sea.
有趣 却不出乎意料的是 Interestingly, though, and typically,
修拉并不像其他印象派画家那样 Seurat didn't go south to the Mediterranean
选择到南方的地中海去 like the other Impressionists.
他选择向北 去往英吉利海峡 He went north to the Channel Coast,
那里的大海冰冷而质朴 where the sea can be bleak and austere...
那里的长而浅的沙丘 And where these long, low dune-scapes
与坚实而崎岖的海峡交错相间 alternate with rocky and craggy headlands.
1890年间 他在这里 格拉沃利讷 In 1890, he spent the summer here
度过了盛夏 at Gravelines.
它临近敦刻尔克与加来 It's near Dunkirk and Calais,
几乎处在比利时的边界线上 almost on the Belgian border,
别处的海滩不像这里这样长 and beaches don't get much longer
也不显得光秃秃 or bare than they are here.
格拉沃利讷最迷人的画作 The most intriguing of the Gravelines paintings
在这里完成 正对灯塔的码头 were done from here, the quay in front of the lighthouse,
海面对岸尽收眼底 looking out across the water
旧时的信号桅在那里树立 to where the old signal mast used to stand,
指示着海潮的高度 showing how high the tides were.
这是修拉的取景地点之一 In one of his views from here,
他以精湛技艺捕获了日光下 Seurat captures so masterfully the pale tonality
人们能看到的苍白色调 of the sunny days you get around here.
从这里望去一片朦胧 There's hardly anything there.
它白茫茫而又湿漉漉 It's so white, so watery,
正如一包茶叶所泡的第十杯茶水 like the tenth cup of tea from the same teabag.
接着 他又从码头上几乎同一处 Then, from more or less the same place on the same quay,
描绘了相同景观的夜景 he painted the same view in the evening,
一样的地点 却是完全迥异的氛围 so same place, but completely different mood.
那时正值薄暮 This time it's twilight.
海岸在黑暗中透着微光 The coast is glowing darkly.
夜晚即将来临 Night is at hand.
同一现实 双倍视角 One reality, two viewpoints.
至此印象派开始发生演变 This is Impressionism becoming something else.
印象派在突破第四次元 Impressionism is breaching the fourth dimension.
查尔斯·布兰科的那本名著 In that influential book by Charles Blanc
也就是修拉学生时代 on the grammar of art
读的那本《绘画艺术语法》上 that Seurat read as a student,
有一张由亨伯特·苏佩维埃尔 there's a picture of a set of faces
画的面部特写组图 drawn by Humbert de Superville,
他也是一位古怪的伪科学家 another of these wacky pseudo-scientists
当时出书介绍自己的理论成果 who were publishing their theories at the time,
苏佩维埃尔的面部特写 and de Superville's faces
解析了线条的情感性力量 illustrate the emotional power of lines.
这里的这张脸... So this face here...
是高兴的 充满快乐的 ...is happy, joyous...
而这张令人感到阴沉沮丧 While this one is glum and down.
至于中间这张 看起来... And the one in the middle, well, that's...
沉着 使人安心 ...calm, contented,
十分镇静 composed.
它们均由简单的线条组成 All done with simple lines.
综上可得 平行的线条 This idea that horizontal lines
营造了一种平静感 create sensations of calmness
这便是修拉选择到这片海岸作画的缘故 is one of the reasons why Seurat came to this coast.
法国别处的海岸不像这里 呈水平状 France doesn't get much flatter or more exactly divided
且精确平分 than it does here.
在他描画的此处日景中 In his day scene from here,
修拉以这些清晰的置于水平上的竖直 Seurat's gone for an impression of immense calmness,
还有底下大片空白的沙滩 with these clear verticals above the horizon,
呈现了铺天盖地的平静感 and a stretch of sandy emptiness below.
但夜景所呈现的却恰恰相反 But the evening scene goes for the opposite effect.
在夜景的画作上 In the evening scene,
格拉沃利讷戴上了忧伤的面具 Gravelines puts on its sad face.
船只们闷闷不乐 The boats are scowling.
船锚简直垂头丧气 The anchors are downcast.
日落时的格拉沃利讷尤为凄凉 Gravelines at sunset is glum.
我们看到的这位艺术家 将情感 So here's an artist treating emotion
视作一项科学挑战 as a scientific challenge,
用精雕细琢的画技 manipulating your moods
操纵着你的七情六欲 with carefully considered painting strategies,
好像他是个科学家 你就是小白鼠 as if he were a scientist and you were the guinea pig.
修拉逝世时年仅31岁 Seurat died when he was just 31 -
如此天才却离开得这般仓促 such an early departure for such a big talent...
尤其是那时他的作品正变得愈加奇特 Particularly since his work was getting stranger and stranger.
尽管他的海景画作已经足够漂亮 I mean, the marine paintings are beautiful enough,
但他在巴黎画下的其他每一幅遗作 but everything else he was doing in Paris
都越来越反常 was increasingly eccentric.
修拉培养出一种对戏院与马戏团的兴味 Seurat had developed a taste for theatres and circuses,
并且在一系列非同寻常的画作中 and in a set of strikingly unusual pictures,
被当作巴黎资产阶级夜间娱乐的 had taken to recording the nocturnal pleasures
真实写照 of the Parisian bourgeois.
修拉生前的最后一幅遗作 His final painting, Seurat's last masterpiece
主要描绘了一群康康舞者 was, of all things, a painting of some can-can dancers.
康康舞 也以夏宇舞为人熟知 The can-can, or Chahut as it was known,
并不能算作一种真正的舞蹈 wasn't really a dance at all.
它其实算是巴黎人深夜的顽皮之举 It was a bit of late-night Parisian naughtiness,
撩人的女子们会掀起她们的裙子 in which provocative women would throw up their skirts,
露出一点腿部 兴奋地大叫 expose a bit of leg, and whoop.
修拉的画作时常被视作他最聪明的 Seurat's painting is usually seen as one of his brainy attempts
将理论付诸行动的尝试之一 to put theory into action.
这些令人头昏眼花的斜线 All these dizzy diagonals
应该制造一点欢愉的感觉 are supposed to create a sense of gaiety.
这又是亨伯特·苏佩维埃尔传授的课程 It's the lessons of Humbert de Superville again.
但假使修拉确实想要 But if Seurat really was trying
画一幅欢乐的图 to paint a gay and happy picture,
此举好像不是很成功吧 he hasn't exactly succeeded, has he?
修拉的夏宇舞中有种僵硬的不自然的气氛 There's a stiff and forced air to Seurat's Chahut.
如果这是一个外出的有趣夜晚 If this is a fun night out,
我想我宁可待在家里 I think I'd rather stay at home.
不过我倒不认为这本该是一个有趣的夜晚 But I don't think it was meant to be a fun night out.
我认为修拉的动机更加深沉和阴郁 I think Seurat's motives were deeper and darker.
康康舞现在已成为一种陈旧的观光吸引点 These days we think of the can-can as a seedy tourist attraction,
皮加勒广场值得一看的特色 something to go and watch in the Place Pigalle.
但在修拉的年代 它实在是危险而颓废 But in Seurat's time, it was genuinely dangerous and decadent -
无政府主义者甚至炸毁了 so decadent that the anarchists actually blew up
里昂一家臭名昭著的康康舞俱乐部 a notorious can-can club in Lyons,
因为他们认为那体现了资产阶级糜烂生活 because they saw it as the embodiment of bourgeois decay.
对我而言 修拉每幅画作都有种相关的 For me, all of Seurat's paintings have this niggling,
琐碎而显著的政治气息 insistent sense of politics about them,
它们似乎在悄然评论着 as if they're trying to comment in secret
它们周边的世界 on the world around them,
它的虚假 愚蠢 还有伪善 its phoniness and silliness and hypocrisy.
我越去观察修拉的艺术越能肯定 The more I look at Seurat's art, the more firmly I'm convinced
在这层外在的颜色理论 that under this cloak of colour theory
和线条情绪底下 我们能看到的 and the lines of emotion, what we really have here
是现代生活的一名悲观的旁观者 is a very pessimistic observer of modern life.
印象派开始变得愤世嫉俗 Impressionism had grown cynical,
在错觉中幻灭 disillusioned with the illusions.
旨在认真观察现代生活的艺术家们 Having set out to see the modern world properly,
现在深入地见识到了人间百态 it was now seeing it all too well.
艺术气息正在变换 Art was changing moods.
有一条旧时的荷兰谚语曾说 There's an old Dutch proverb that says,
"假若今日天晴 明日即成多云" "If the sky is blue, it'll be grey tomorrow."
荷兰人可不是乐天主义者 The Dutch, alas, are not a cheery bunch.
不过出乎意料的是 荷兰以及荷兰人 Amazingly, though, Holland and the Dutch
在印象派的故事中可扮演了重大的角色 played a big role in the story of Impressionism.
莫奈的数次荷兰之旅均大有所获 Monet came here on several productive visits,
绘制了郁金香天堂花朵 and painted glorious flower scenes
奇迹般盛开的绚丽花海景象 of the tulip paradise in miraculous bloom.
但荷兰赠予印象派最大的礼物 But Holland's greatest gift to Impressionism
是个红头发的家伙 他瘦小而结实 was a redhead, small and wiry,
拥有晶亮的小眼 脾气暴躁 beady-eyed and grumpy.
他就是那位杰出的荷兰天才 文森特·梵高 It's that brilliant little Dutch gnome, Vincent van Gogh,
或者以他老乡的方式称呼他 "饭糕" or, as his own people call him, "Fan Goff!"
如果你以为梵高喜欢搂搂抱抱 再想想看 If you think Van Gogh was cuddly, think again.
他绝对阴沉 疯狂 执迷不悟 He was dark, driven, obsessive.
他的父亲是一名荷兰牧师 His father was a Dutch pastor,
他将一种阴郁的世界观遗传给了梵高 and a gloomy world view was Van Gogh's inheritance.
另一条阴郁的荷兰格言如是说 As another gloomy Dutch proverb puts it,
"一只青蛙即使坐到了黄金的王座之上 "A frog will always jump back into the pool,
也总有一天会跳回到池塘中" even if it sits on a golden throne."
你永远无法逃离你的过去 You can never escape your past.
青蛙永远只能是一只青蛙 A frog will always be a frog.
梵高那旺盛的精力却带他跳脱了池塘 'Van Gogh's energetic attempts to escape the pond
来到英格兰 接着是比利时 'took him to England, then Belgium,
最后到了巴黎 'and finally to Paris,
当他于1886年抵达这里时 'where he arrived in 1886,
正好赶上了第八届 'just in time to see the eighth
也是最后一届印象派画展 and final Impressionist exhibition.'
梵高的小弟弟 西奥 Van Gogh's younger brother, Theo,
是一名身处巴黎的艺术商人 was an art dealer in Paris,
他向来支持印象派画家 who'd been supporting the Impressionists.
所以当文森特最后找到这里时 So when Vincent suddenly turned up here,
好消息是他能很快地了解到 the good news was that he could get up to speed quickly
最新的艺术发展动向 on the latest developments in art.
坏消息便是他没有地方住 The bad news was that he had nowhere to live,
于是他搬去与西奥同住 and was moving in with Theo.
文森特
如今我们想象中的梵高是个高尚的 'These days we think of Van Gogh as a soulful,
热情的天才 warm-hearted genius,
只是有着无法接受现世的脆弱灵魂 'a fragile soul too brittle for the modern world.'
没错 他是一个天才 He was a genius, all right,
但他同样是这世上你最不想 but he was also the last person on Earth
与之同住的人 you'd want moving into your flat.
分裂 衰弱 且执拗 Disruptive, decrepit, difficult,
梵高完全不讲究个人卫生 Van Gogh had no personal hygiene whatsoever,
饮酒如同牛饮水 and drank like a fish.
几杯苦艾酒下肚 After a couple of absinthes,
他可能就和一名和尚打起来了 he could start a fight with a Buddhist monk.
他的健康也惨不忍睹 His health was shot, too.
当他初至巴黎 When he arrived in Paris,
他已身患梅毒 he was already suffering from syphilis,
在比利时 当他再次从艺术学校辍学时 and in Belgium, where he'd just dropped out of art school again,
他的牙齿腐蚀得相当严重 his teeth had rotted so badly
以至于不得不一次拔了十颗牙齿 he had to have ten of them taken out in one go.
因此 他在巴黎大量炮制的 That's why you never see Vincent smiling
各种严肃思考的自画像中 in any of the fierce and brooding self-portraits
脸上从未有过笑容 he began churning out in Paris.
在他病态的自画像中 In his troubled vision of himself,
梵高总是闭着嘴巴 Van Gogh always kept his mouth shut.
可他在现实生活中却不是这样 In real life, it never was,
尤其是两杯酒下肚之后 particularly after a drink or two.
文森特和西奥就住在这儿 蒙马特区最里面 Vincent and Theo lived just here at the bottom of Montmartre,
勒比克街54号 at 54 Rue Lepic,
三楼 up on the third floor,
文森特很快就把房间弄得又脏又乱 where Vincent soon made sure the rooms were so squalid
以至于西奥都不好意思邀别人来 that Theo was embarrassed to invite anyone round.
勒比克街离加勒特磨坊 The Rue Lepic was just a stone's throw away
仅一箭之遥 from the Moulin de la Galette -
那儿曾是风车房 现在是康康舞小酒馆 once a windmill, now a can-can joint.
文森特到蒙马特区的时候 By the time Vincent arrived in Montmartre,
大多数的老式风车房都被改成了酒吧和餐馆 most of the old windmills had been turned into bars and cabarets.
但至少从外面看来 这儿还是个家的样子 But from the outside at least, this still looked like home.
如果有人曾为巴黎印象派画家 If anyone was ever handing out prizes
所作最陌生的景色颁奖 for the least familiar views of Impressionist Paris,
那么 梵高阴郁的城市景色必然会获奖 then, Van Gogh's gloomy cityscapes would surely win.
点缀着这些摇摇欲坠的风车磨坊 With all these rickety windmills dotted about,
梵高笔下的巴黎看起来更像是荷兰而不是法国 Van Gogh's Paris looks more like Holland than France.
那个时候 蒙马特区仍是个脏乱的灌木丛 In those days, Montmartre was still a messy scrubland
满布工作坊和脏乱的小房子 of working gardens and scruffy allotments.
被放逐在这片伪装的荷兰 Exiled in this pretend Holland,
这只孤独的荷兰青蛙思念着自己的池塘 a lonely Dutch frog was missing its pond.
除了散步 画画 争辩 Apart from walking, painting and arguing,
文森特另一大爱好是喝酒 Vincent's other great hobby was drinking.
他经常喝酒 有时候就是在这儿 He did a lot of that - some of it in here.
快活兔子餐馆
敏捷的兔子 或快活兔子 The Lapin Agile, or Agile Rabbit,
是蒙马特区留下的 is the only bar in Montmartre
唯一可能多少有些文森特印记的酒馆 that remains more or less as Vincent would have known it...
狭小 黑暗 破旧 ..Small, dark and shabby.
来杯樱桃酒 好的 Une cerise, s'il vous plait. Oui.
为了让文森特能走出屋子 To get Vincent out of the house,
西奥替他报名了克利希大道的一家艺术学校 Theo enrolled him in an art school on the Boulevard de Clichy,
叫科尔蒙画室 负责人是个年轻的小个子 the Atelier Cormon, where the head boy was a small chap
叫图卢兹·劳特列克 谢谢 called Toulouse Lautrec. Merci.
文森特并非听话好学的艺术生 Vincent wasn't the art-school type.
他大多数学习是在吧台完成的 He was studying mostly at the bar,
而且不是为了法律学位 and it wasn't for a law degree.
英法律学生课堂有栅栏隔开师生 称为Bar
文森特在巴黎所作最突出的画中 One of Vincent's most striking Paris pictures
有一幅画的就是一杯苦艾酒 is actually a portrait of a glass of absinthe
在一张咖啡桌上 看起来可口 sitting daintily on a cafe table.
他们称它绿色精灵 They called it "The green fairy",
因为当你向杯子里倒水时 because when you poured in the water,
苦艾会变成奶绿色 显得美丽而危险 absinthe would go milky green - pretty and dangerous.
那就是文森特所画的 And that's what Vincent's painted -
一杯独立吧台的苦艾酒 a glass of absinthe sitting on its own in a bar,
像个美丽的女子等着被搭讪 like a pretty girl waiting to be chatted up.
差不多就是这个时候 他陷入了一段 It was about now that he got himself involved
短暂的卑微爱情 in a grubby little love affair
对方是当地酒吧老板阿古斯汀那·赛格特里 with a local bar-owner called Agostina Segatori.
阿古斯汀那遇到梵高时大概45岁左右 Agostina was in her mid-40s when she met Van Gogh.
她原本来自那不勒斯 She was from Naples originally,
像很多意大利女孩一样 and had come to Paris, like so many Italian girls,
她来巴黎给艺术家当模特 to pose for artists.
她阴郁而暴躁 She was dark and fiery,
很受那些画廊画家的欢迎 and much in demand among those salon painters
因为他们专门研究中东奴隶的画像 who specialised in Middle Eastern slave scenes.
通过当裸体模特 阿古斯汀那攒了足够的钱 By taking her clothes off, Agostina saved enough money
在克利希大街开了一家小餐馆 to open a small restaurant on the Boulevard de Clichy
叫铃鼓餐厅 called Le Tambourin...
因为那儿的餐桌都是铃鼓的造型 ..Because the tables there were all shaped like tambourines.
她和文森特的感情很短暂也并不幸福 Her affair with Vincent was short-lived and unhappy,
就像大多的悲惨收场的现代都市情感一样 one of those grim urban collisions you get in the modern city,
不幸而寂寞 joyless and lonely.
但它确实激发了一些迷人的艺术作品 But it did at least inspire some fascinating art.
文森特画过的唯一的裸体画 The only nudes that Vincent ever painted
就是阿古斯汀那的画像 are pictures of Agostina.
大多数裸体画艺术都假装有着更高尚的目的 Most nudes in art pretend they have some higher purpose,
但这些没有 这些画直接得骇人 but not these. They're shockingly direct,
非常的粗野 and very physical.
阿古斯汀那是臭名昭著的精明实际的女人 Agostina was notoriously hard-headed.
她让文森特拿他部分的画来换粮食 She let Vincent swap some of his paintings for meals,
但必须拿花朵的画 but they had to be flower paintings,
因为她觉得其他画卖不出去 the only pictures of his she thought she could sell.
如果你仔细看这幅阴沉的肖像 If you look carefully at his glum portrait
阿古斯汀那端坐在铃鼓餐厅 坚强而疏远 of Agostina looking tough and alienated at Le Tambourin,
你可以在后面的墙上看到些模糊的影子 you can make out some fuzzy shapes on the wall behind.
那些是日式画 是梵高新的热情所在 They're Japanese prints, a new passion of Van Gogh's.
阿古斯汀那让他在铃鼓餐厅展出这些画 Agostina let him put on a show of them at Le Tambourin,
而他画下了她坐在画前的样子 and he's painted her sitting in front of it.
这些日式画戏剧性地改变了文森特 These Japanese prints changed Vincent's art dramatically.
就像有人突然打开了一扇门 It was as if someone suddenly threw open a door
让颜色闯了进来 and let in colour.
他们卑微的都市爱情陷入争执和辱骂之前 His final portrait of Agostina, before their squalid city romance
他给阿古斯汀那画的最后一幅肖像 disintegrated into arguments and name-calling,
是张出人意料的彩色画像 is a full-colour revelation...
阿古斯汀那穿着意大利的民族服装 ..Agostina, in her Italian folk costume,
像是八月阳光下的金黄的太阳花 as sun-drenched and yellow as a sunflower in August.
梵高在巴黎只待了两年 Van Gogh was only in Paris for two years
后来突然决定去法国南部 before he suddenly decided to leave for the South of France,
走得和来时一样突然 just as abruptly as he had arrived.
因此他的这段印象派时期十分短暂 So this Impressionist phase of his was really short,
但他作品中的变化却是巨大的 but the change in his work was momentous.
这是梵高刚到巴黎时画的画 This is Van Gogh at the beginning of his stay in Paris.
这是一年半以后 And here he is 18 months later,
受了印象派和日式画的影响 once Impressionism and Japanese prints had got to him.
这不是进步 This isn't progress.
这简直是换了个人 This is an identity swap.
玛丽·卡萨特 美国女画家（1844-1926）
保罗·高更 法国后印象派画家（1848-1903）
1886年第八届印象派画展 The Eighth Impressionist Exhibition of 1886,
目录
将修拉介绍给了世界 which unleashed Seurat on the world
潘
并改变了梵高 and transformed Van G ogh,
居斯塔夫·卡耶博特
但这是最后一届印象派画展了 turned out to be the last.
埃德加·德加 法国古典印象主义画家（1834-1917）
印象主义完全展现在世人眼前 Impressionism had opened its final door,
克洛德·莫奈 法国印象派画家（1840-1926）
其他各种艺术随之衍生 and all sorts of art was rushing through it.
卡米耶·毕沙罗 法国印象派画家（1830-1903）
在早期的印象派画家中 Among the original Impressionists,
主要创始人之间 the hard-core founding members,
毕沙罗尝试过修拉的新风格 Pissarro had a bash at Seurat's new style,
但他并不擅长 but he wasn't much good at it.
最终 他回归最初志向 In the end, he went back to his first ambition
用画笔去捕捉现代巴黎的繁忙节奏 of capturing the busy rhythms of modern Paris.
而雷诺阿 结局可悲 Renoir, alas, turned into something ghastly -
大量炮制了像一串串香肠一样肥腻的裸体画 a peddler of plump and greasy nudes
成了兜售的小贩 which he churned out like a string of pork sausages.
早期的印象派画家中 真正的英雄人物 The true hero among the original Impressionists,
是莫奈 他使得印象主意最终成形 the ones who started it all, was Monet.
莫奈的后半段职业生涯 The second half of Monet's career
甚至比之前更加激进 was even more radical than the first.
这里是吉维尼小镇 This is Giverny, of course,
莫奈在这儿度过了他生命中最后的四十几年 where he spent the last 40-odd years of his life,
并且种植了这个著名的花园 and where he planted this famous garden.
他建这个花园的部分原因 And one of the reasons he created this garden
是想方便自己的生活 was to make life easier for himself,
因为这样他就不用长途跋涉 so he wouldn't have to travel so far...
去寻找自己的目标 ..To find his subjects.
干草垛 这种前无古人的户外写生系列 The Haystacks, that unprecedented series of outdoor picturings
是莫奈在19世纪90年代首创的 that Monet embarked upon in the 1890s
就是在这外面 这个花园后面空地上完成的 were painted out here, in the fields just behind the garden.
他将画布 颜料 画架装上独轮手推车 He'd load up a wheelbarrow with canvasses, paints, easels,
从家里带个男仆来帮他推车 get a lackey from the house to help him push it,
然后把车停在附近的空地上 and park himself in a nearby field,
而他则竖起一排的画架 穿梭其中 where he'd set up a row of easels and dart from canvas to canvas,
画下一天各个时间的不同采光效果 painting the different light effects as the day changed.
这个想法很简单 但之前从没人这么做过 It was a simple idea, but something no-one had ever done before -
因此这是一种全新的作画方式 a completely new way of painting.
显然当地的农民 Apparently the local peasants,
不喜欢莫奈也不喜欢现代艺术 who didn't like Monet or modern art,
会故意提前把干草垛推翻 would demolish their haystacks early on purpose,
仅仅为了惹恼他 just to annoy him.
虽然他是1883年来到吉维尼的 Although he first came to Giverny in 1883,
但他却等了大概二十年 he actually waited a couple of decades
才开始画 before he began painting
这个著名的花园中最著名的一部分 the most famous bit of his famous garden -
就是这个池塘 the pond.
这是莫奈最早画的睡莲 These are the first water-lily paintings that Monet did.
从1899年才开始 They were started in 1899,
因此这些是莫奈19世纪作品中最晚的 so these are the last Monets of the 19th century,
也是他20世纪作品中最早的 and the first Monets of the 20th.
从这儿一直走到底 在房子和莲花池中间 Down at the bottom here, between the house and the lily pond,
以前是条铁路 there used to be a railway track...
有辆轻快的小火车会从这儿上下盘旋 ..And a cheery little train would puff up and down here
一天六次 给莫奈提神 six times a day, and lift his spirits.
他喜欢火车 Monet loved trains.
他的整个艺术生涯中 总会有小火车冒出来 They kept popping up in his art all through his career.
画火车的蒸汽是很有意思的挑战 Their smoke was an exciting challenge to paint,
而这些蒸汽的象征意义似乎能给他带来希望 and their symbolism seemed to trigger hope in him.
1914年一战爆发 一切都改变了 All that changed in 1914, when the Great War broke out,
军队开始来来往往地 and the army began ferrying wounded soldiers
从前线运输伤兵到这里 from the front line up and down here,
愉快的小火车不停在提醒着人们 and the cheery little train became an insistent reminder
战争与死亡 of war and death.
他能做什么 他怎么能帮上忙 'What could he do? How could he help?
他现在已经80多岁了 'He was in his 80s now.
早就过了能采取实际行动的年纪 The days for practical action had long gone.'
但是战争打到了家门口 But the war had come to his doorstep,
他必须得做点什么 and he had to do something.
答案在1918年11月11日停战日 The answer came to him on Armistice Day itself,
战争的最后一日 自己找上了门来 November the 11th, 1918, the last day of the war,
莫奈给他的老友 时任法国总理的 when Monet wrote a letter to his old friend Georges Clemenceau,
乔治·克列孟梭写了封信 who had now become prime minister of France.
克列孟梭是位鼓舞人心的战时领导人 Clemenceau had been an inspirational wartime leader,
法国的温斯顿·丘吉尔 the French Winston Churchill.
和在此前后的大多数政客不同 And unlike most politicians before and since,
他还深知艺术的力量 he also understood the power of art.
在成为总理之前 Before he became prime minister,
克列孟梭曾经做过记者 Clemenceau had been a journalist,
他以惊人的洞察力描写过莫奈的艺术作品 and he'd actually written with great insight about Monet's art.
他们是老朋友了 They were old friends,
在停战日那天 so it was to Clemenceau,
莫奈就是向克列孟梭 on Armistice Day...
进行了伟大的提议 ..that Monet made his great offer.
为了庆祝战争的结束 To commemorate the end of the war,
他将赠予法国政府一组画作 he would give the French state a set of his pictures.
"这不算多少" 当时他深情地写道 "It's not much," He wrote poignantly at the time,
"但这是我参与这场胜利的唯一途径" "but it's the only way I have of taking part in the victory."
有一段时间 他渴望着某些重要的 He'd been dreaming for some time of something momentous,
前所未有的东西 unprecedented...
在1914年 ..And already, in 1914...
他给自己建了这个大型的新工作室 ..he'd built himself this massive new studio.
现在这里被用作吉维尼礼品店 These days it's mostly used as the Giverny gift shop,
不过莫奈建造它是为了实现梦想 but Monet built it to realise a dream.
他想画一组巨大的睡莲 He wanted to paint a set of giant water lilies,
然后把它们挂在 and to hang them
宽敞的圆形空间里 in a large, round space
使它们完全围绕在你身边 so that they completely encircled you.
不过问题来了 大问题 But there was a problem - a big one.
一段时间以来 他的视力出了些问题 For some time now, he'd been having trouble with his eyesight.
莫奈的双眼都患上了白内障 Monet had developed cataracts in both of his eyes.
白内障有三种 他得的只是其中一种 There's three types of cataract, two of which he didn't get,
他得的是普通的老年性白内障 but he did get the normal age-related cataract,
又被称为核硬化 which is called nuclear sclerosis.
天然晶状体的晶体结构 In that, the crystalline structure of the natural lens
伊恩·默多克 眼科学家顾问
逐渐地变化 所有人都是如此 gradually changes, and it happens to all of us, in actual fact,
它随着年龄的增长而变黄 有点像是纸张 and it yellows with age, and it kind of gets like paper,
年久发黄 晶状体随着年龄的增长而变黄 yellows with age. The lens yellows with age.
我们听从你的建议 给摄像机带来了 Now, we've brought along some filters for the camera
一些滤光镜 和莫奈看到的效果 on your advice, which approximate some of the effects
比较相似 that Monet would have seen.
我们可以现在就把滤光镜放上 I mean, we can put on this filter now,
大家现在看到的 and I think what people watching will see
与其说是模糊 到不如说是颜色改变了 is that it's not so much blurring - it's also the colour change.
一点不错 黄色滤光镜的功能就是 Absolutely, and what yellow filters do is,
它们阻挡了蓝光 蓝色就消失了 they take out blue light, so the blues tend to go.
就像你的蓝色领带 现在看起来是灰色 So just as your blue tie looks sort of grey now,
所有的蓝色对莫奈来说都是灰色的 all the blues would have looked greyish to Monet.
它们都演变成了一种污点 They'd have morphed into one sort of splodge.
随着白内障的恶化 And as the cataracts grew worse...
我们带来了另一块滤光镜 We've brought along another filter
看看会发生什么 to show what might have happened.
这下变化可大了 是吧 It's quite a huge difference, isn't it,
视力开始消退 because the eyesight actually starts going.
接下来发生的是视力也开始变得模糊 What happens then is, the eyesight begins to blur, as well,
这会令人更加沮丧 which of course is an added frustration,
白内障需要严重到一定程度 because you can get quite a lot of cataract
视力才开始模糊 before the eyesight starts blurring.
不过最终 当然 还是模糊了 But eventually, of course, it does blur,
这个变化对他来说是不可忽视的 and it blurred in his case significantly.
他最后只能依靠颜料上的标签 He ended up having to just rely on the labels on his paints,
因为他根本分辨不出蓝色 绿色 because he couldn't really tell the blues, greens
紫色以及其他 他分辨不出来 and the purples and that. He couldn't really tell them,
所以只能依靠标签 so he had to rely on the labels.
莫奈试着用手术来 So Monet attempted to solve his problems
解决问题 是吧 by resorting to surgery, didn't he?
是的 He did.
外科手术到那时已经先进不少 The surgery had advanced enormously by then,
要把晶状体从眼睛中取出 but it consisted of taking the lens out of the eye,
你得切开眼球 把晶状体取出来 so you had to open the eye, get the lens out,
然后 当然 需要戴眼镜 and then, obviously, you have to have spectacles
以矫正视力 to correct for vision,
我们可以模拟一下 which we can simulate for you, if you like.
当我戴上这个的时候 我就是用 So when I put these on, I will see the world
莫奈在术后的方式 或者说 in the way, or nearly in the way,
很相近的方式 在看这个世界 that Monet saw it after his operation.
你只需要用黄色滤光镜 You just need a yellow filter
来保证一切完全正确 看看你的拇指 just to make it absolutely right. Have a look at your thumb.
-我的天啊 -看看你的拇指 - Good Lord! - Have a look at your thumb.
我啥都看不到 我的拇指 I can't see anything. My thumb... Agh!
我的拇指不是一个 是两个 The thumb is not one thumb but two thumbs.
一只眼睛看到的是大点的拇指 There's a big thumb in one eye,
另一边看到的小一些 and a sort of little thumb in the other.
-那真是... -大脑无法 - And that is... - And the brain is incapable
将两边的图像统一 of putting the large image with the small image
无法形成双目视觉 and giving you binocular vision.
在这种视力情况下 I would have said that was impossible,
绘画是不可能的 to paint with eyesight like that.
绝对不可能 Absolutely impossible.
事实上 莫奈那可怕的视力 In fact, Monet's appalling eyesight
对他的艺术却有着积极影响 had a positive impact on his art.
它释放了他的视觉 It freed his vision,
迫使他相信自己的想象力 and forced him to trust his imagination.
法国政府发现了一处 The French government found a superb location
画睡莲的极佳地点 for those water lilies he'd promised -
杜伊勒里宫的前温室 a former greenhouse on the Tuileries,
十分壮观地坐落于协和广场上 set magnificently on the Place de la Concorde -
橘园美术馆 the Orangerie.
橘园美术馆
橘园美术馆呈细长形 而非圆形 The Orangerie is long and thin rather than round,
莫奈于是改变了他的计划 so Monet changed his plans.
他不再局限于一间巨大的圆厅 Instead of one huge circular room,
而是设计了一个更加野心勃勃的计划 he designed an even more ambitious scheme
两个联通的椭圆形空间 for two interconnected ovals.
超现实主义画家安德列·马宋曾将其描述为 The Surrealist painter Andre Masson once described this
印象派的西斯廷教堂 as the Sistine Chapel of Impressionism.
位于罗马梵蒂冈 内部壁画闻名世界
不过这实际上是两座西斯廷教堂 But it's actually two Sistine Chapels
首尾相连 laid end to end.
关于睡莲值得注意的一点是 A good thing to notice about the water lilies
画面上的睡莲数量非常的少 is how few water lilies there are in here.
当然还是有一些的 There are some, of course.
这里有一对 大概吧 Couple here, perhaps.
这里有一块 A clump here.
不过真的很少 But there's not that many,
一些区域则一点都没有 and in some places there are none at all.
因为莫奈的这些伟大的作品 Because Monet's great enfolding mural
想表现的不是花朵 is concerned not with flowers,
而是水面的闪烁 反射 but the shimmering, reflective,
无尽的迷人的存在 endlessly fascinating presence of water...
藏匿于此的黑暗 ..The darknesses it harbours,
潜伏并存在于此的变化的现实 the shifting reality in which it lurks and lives.
他把我们带进了湖中央的小岛 He's put us on an island in the middle of a lake,
我们的四周被水环绕 so that the water surrounds us in every direction.
当克列孟梭第一次看到这个 And when Clemenceau first saw this,
他建议应该在正中央 he suggested they should build a lift
建一个升降机 right here in the middle,
这样游客们就会体验到 so that visitors would be deposited
置身于正中央的感觉 at the centre of the experience
而不是从一侧的门走进来 rather than coming in through a door at the side.
你在这儿看见的这些睡莲的作品 The job of the water lilies you do see in here
给了你一些有形的东西去理解 is to give your eyes something tangible to grasp,
使你意识到身处何地 a sense of where you are.
它们就像彩色图钉 They're like coloured drawing pins
把这闪烁的 无尽的 holding in place this shimmering,
壮美的暮色固定在了画面上 endless, sublime twilight.
莫奈没能见证这一切的完成 Monet never saw this finished.
他死于1926年 He died in 1926,
最后一位幸存的印象派画家 the last of the surviving Impressionists.
但是他把最具革命性的时刻留到了最后 But he'd saved his most revolutionary moment till the end.
在这一系列的开始 I set out in this series
我便致力于让印象派走出巧克力盒子 to take Impressionism off the chocolate box,
把它扔回熔炉 再次提醒我们 to put it back into the furnace, and remind us again
它是多么勇敢 多么炽热 多么有创造力 of how brave it was, how fiery and inventive.
不过说实话 我花了这么长时间 But to be honest, I've spent all this time
制作了四集大型纪录片 making four huge films
试着让你们相信 trying to convince you
印象派是多么有革命性 of how revolutionary Impressionism was,
其实我要做的只是带你们来这 when all I really had to do was to bring you in here
向你们展示这个 and show you that.
一位86岁印象派爷爷的作品 An 86-year-old Impressionist granddad did that.
这在当时是狂野的艺术 现如今仍是 It was wild art then, and it's wild art now.
这种艺术永不会被驯服 This art will never be tamed.
如果你愿意 你可以把这视为印象派的终结 If you want, you can see it as the end of Impressionism.
但是事物的终结怎么能如此地 But how can the end of something
充满着可能性 be so full of possibilities?