Name: 如何理解畢加索 (How To Understand A Picasso)
Uploaded: 2025-05-23T05:53:19.000Z
Duration: 8 min 11 s

So you're in a museum looking at a Picasso, you've heard the name a million times, you know the influence, you know he's one of the most important artists of the 20th century, you know he invented cubism, you know he loved women, lots of women, and you know he wasn't that great to them, you know he had phases, the blue period, the rose period, neoclassicism, surrealism, but the painting you're looking at, the one in front of you, you've never seen it before, it's called Night Fishing at Antibes, or Antibes, you don't really know, you don't speak French, the little card next to it doesn't say much, but you want to know more about it, how?

你在博物館裡看畢加索的畫 你聽過他的名字無數次了 你知道他的影響力 你知道他是20世紀最重要的藝術家之一 你知道他發明了立體主義 你知道他愛女人 很多女人玫瑰時期、新古典主義、超現實主義，但你眼前的這幅畫，你以前從未見過，叫做《安提布夜釣》，或者《安提布》，你不太瞭解，你不會說法語，旁邊的小卡片也沒寫什麼，但你想更多地瞭解它，怎麼做？

The way I see it, you can look at any Picasso in five different ways.

在我看來，你可以用五種不同的方式來欣賞畢加索的作品。

關係子句

The first, and often the best way to understand any painting, is simply to look at it, describe to yourself the objects and the actions that you see.

首先，通常也是理解任何一幅畫的最好方法就是仔細觀察，向自己描述所看到的物體和動作。

In Night Fishing, for example, what you see is two spear fishermen hunting for fish from a small boat.

例如，在《夜釣》中，你看到的是兩個魚叉漁夫在一艘小船上捕魚。

Lit by a mesmerizing light at the top of the canvas, one fisherman leans strongly into the water with his spear, hesitating before delivering the final blow to a fish, while the other leans languidly over the edge, looking anxious, a fishing line tied to his foot.

在畫布頂端迷離燈光的照耀下，一位漁夫手持長矛，有力地躍入水中，在給魚兒最後一擊之前猶豫不決；而另一位漁夫則慵懶地靠在水邊，腳上綁著一根魚線，神情焦慮。

In the upper left, we can see two towers in a mass of purple shapes, while around the fisherman fly moths or insects lit by the light, curving over the back of one of them toward the right side of the frame, where two women, one with an ice cream cone and a bicycle, gesture to the men who don't seem to notice that much.

在左上方，我們可以看到兩座紫色形狀的大廈，而在漁夫的周圍，飛蛾或昆蟲在燈光的照耀下飛舞，從其中一個漁夫的背上彎向畫面的右側，在那裡，兩個女人，一個拿著冰淇淋甜筒，一個騎著自行車，向男人們打著手勢，而男人們似乎並沒有注意到這一點。

I find my first reactions to this entire painting to be a bit contradictory.

我發現自己對整幅畫的第一反應有點矛盾。

On the one hand, there seems to be a violent, foreboding character to the scene, the central focus is clearly the hand and the spear and the fish, but there also seems to be an equilibrium here in the balance of colors and figures, an almost magical view into an all too ordinary activity of fishing at night by lamplight.

一方面，這個場景似乎有一種暴力和不祥的特徵，中心焦點顯然是手、矛和魚，但在色彩和人物的平衡中，這裡似乎也有一種平衡，一種近乎魔幻的視角，讓人看到在燈火闌珊的夜晚釣魚這種再普通不過的活動。

And that brings us to the second way to examine this painting, understanding the actual content of this scene.

這就引出了研究這幅畫的第二種方法，即瞭解這個場景的實際內容。

It is of course a night fishing scene, and that light at the top is either the moon, or an acetylene gas lamp, which spear fishermen use to lure fish to the surface of the water.

這當然是夜釣的場景，頂部的光要麼是月亮，要麼是乙炔氣燈，魚叉漁夫用它把魚引到水面上。

In the upper left, we can bet that those two towers in the mass of purple shapes are the Chateau Grimaldi, which by the way has since become the Picasso Museum.

在左上方，我們可以猜測，紫色形狀中的那兩座塔就是格里馬爾迪城堡，順便說一句，它後來成了畢加索博物館。

And the water is the French Riviera at Antibes, a resort town in the southeast of France where Picasso was vacationing in the summer of 1939.

水域是位於法國東南部度假勝地安提布的法國裡維埃拉，1939 年夏天畢加索曾在此度假。

According to his secretary, Picasso had come across such fishing scenes walking the town at night after dinner, and proceeded to lock himself in his studio to work on this really large canvas, his largest since Guernica, which was completed two years before.

據他的祕書說，畢加索晚飯後在城裡散步時遇到了這樣的捕魚場景，於是就把自己關在工作室裡創作這幅真正的大畫布，這是他自兩年前完成的《格爾尼卡》以來最大的畫布。

The form of night fishing is in keeping with Picasso's evolving style after Guernica, which incorporates holdover elements from the Cubist period in the flatness of the canvas and its emphasis on geometrical shapes, but it also pulls from the painter's excursions into both Surrealism and Primitivism, where faces become masks.

夜釣的形式符合畢加索在《格爾尼卡》之後不斷演變的風格，這種風格在畫布的平整度和對幾何圖形的強調上融入了立體主義時期的遺留元素，但同時也借鏡了畫家對超現實主義和原始主義的探索，即把人臉變成面具。

Indeed, in so much of this painting in the Cubist period and beyond, the key point to remember is that figures are painted not as they're perceived, but as they're conceived.

事實上，在立體主義時期及以後的許多繪畫中，需要記住的關鍵一點是，人物不是按照他們的感知來畫的，而是按照他們的構思來畫的。

Picasso adds to each body elements that signify to other bodies and to the canvas as a whole.

畢加索在每個身體上都添加了一些元素，這些元素對其他身體和整個畫布都具有象徵意義。

For this reason, the critic Douglas Morgan is right to say that we can't call Picasso's people distorted or grotesque, because they haven't been distorted from anything.

是以，評論家道格拉斯-摩根（Douglas Morgan）說，我們不能把畢加索筆下的人稱為扭曲或怪誕的人，因為他們並沒有被任何東西扭曲。

There's no version of reality in which they're undistorted.

沒有一個版本的現實是不扭曲的。

In night fishing, the people are not meant to be sympathized with, the normal reaction to an undistorted figure.

在夜釣中，人們並不是為了獲得同情，這是對一個沒有扭曲的人物的正常反應。

That naked seeing, that discernment, communicates his meanings more directly.

這種赤裸裸的洞察力、辨別力更直接地傳達了他的意思。

Well, there are a couple ways we can apply what we see in form and content to find out.

那麼，我們可以通過幾種方法，運用我們所看到的形式和內容來找出答案。

First, it's worth it to look at the historical context.

首先，看看歷史背景是值得的。

The painting was completed in August 1939, just a couple weeks before the outbreak of World War II.

這幅畫完成於 1939 年 8 月，也就是第二次世界大戰爆發前幾周。

Life in Europe was extraordinarily tense, and it was exceptionally so for Picasso, who was still reeling from the sad conclusion of another conflict, the Spanish Civil War and the defeat of the Republican forces by Francisco Franco and his Nationalist Army.

歐洲的生活異常緊張，對畢加索來說更是如此，他還沉浸在另一場衝突--西班牙內戰以及弗朗西斯科-佛朗哥和他的國民黨軍隊擊敗共和軍--的悲慘結局中。

Picasso opposed Franco in his work, most notably in Guernica, which is one of the most startling anti-war paintings in history.

畢加索在他的作品中反對佛朗哥，其中最著名的是《格爾尼卡》，這是歷史上最令人震驚的反戰畫作之一。

And in some ways, night fishing in Antibes can be seen as a companion piece to Guernica.

在某些方面，《安提布夜釣》可以被視為《格爾尼卡》的同類作品。

Instead of depicting all the violence of the former, Picasso shows a moment of hesitation.

畢加索沒有描繪前者的所有暴力，而是表現了片刻的猶豫。

The painter draws attention to this by making the hand gripping the spear the most realistic depiction in the canvas, and as we move outward from that focal point, things become increasingly warped.

畫家將握住長矛的手作為畫布上最逼真的描繪，從而引起了人們的注意。

And yet even with this hesitation, the scene is suffused with a sense of almost apocalyptic apprehension.

然而，即使有這樣的猶豫，這個場景還是瀰漫著一種近乎世界末日的憂慮感。

The light at the top resembles a spiraling comet as much as it does a moon or a lamp, juxtaposed next to a frightening blotch of red, the painting's only use of that color.

頂部的光線像一顆螺旋上升的彗星，又像一輪明月或一盞明燈，旁邊並列著一片令人恐懼的紅色，這也是整幅畫中唯一使用的顏色。

The moths are like portents buzzing around the heads of the fishermen, the jetty that the women stand on is unsteady, the town in the background is a mess.

飛蛾就像預兆，在漁民的頭頂嗡嗡作響，婦女們站立的碼頭搖搖欲墜，背景中的小鎮一片狼藉。

These feelings could be oppression imaging of the coming destruction of Europe, certainly the feeling in the air was hard to miss.

這些感覺可能是對即將到來的歐洲毀滅的壓迫感，當然，空氣中瀰漫的這種感覺很難讓人忽視。

But more likely, these dark undertones reflect an ongoing personal struggle with the loss of Picasso's native Spain to a vicious dictator.

但更有可能的是，這些陰暗的底色反映了畢加索在失去祖國西班牙後與邪惡獨裁者之間的持續的個人掙扎。

But we're still missing one giant piece of the puzzle.

但我們還缺少一塊巨大的拼圖。

What was going on in the artist's own life.

In this respect, it's worth it to ask who these people could possibly represent.

在這方面，值得一問的是，這些人可能代表誰？

While they both seek to get the attention of the fishermen, they do so in different ways.

雖然他們都想引起漁民的注意，但他們的方式不同。

The one closest to them, and in the closest proximity to the light, spreads her arms in a graceful pose.

離他們最近，也是離光線最近的那個人張開雙臂，擺出優雅的姿勢。

The other is more blasé, licking her ice cream cone.

另一個則比較淡定，舔著她的冰淇淋甜筒。

Her obviously, really very obviously, phallic head and pronounced breasts makes her the more sensuous of the two.

她那明顯（真的非常明顯）的陰莖頭和明顯的乳房使她在兩人中更加性感。

And though certainly a misogynistic distinction, these two women likely represent Picasso's wife, Olga, and a combination of his mistresses, Maria-Therese Walter and Dora Maar, who was with Picasso in Antibes.

儘管這肯定是一種厭惡女性的區分，但這兩個女人很可能代表了畢加索的妻子奧爾加，以及他的情婦瑪麗亞-泰蕾茲-沃爾特和朵拉-瑪爾的組合，後者曾與畢加索在安提布在一起。

And finally, the spearing fisherman can be read as Picasso himself, or perhaps the version of himself that he wants to be.

最後，魚叉漁夫可以被解讀為畢加索本人，或者說是他想成為的那個自己。

Headstrong, looking forward at his goals, undaunted by distraction.

剛毅，對目標孜孜以求，心無旁騖。

But this man seems to be linked with his partner.

但這個人似乎與他的伴侶有聯繫。

Perhaps Picasso's other half, a side of himself that is passive, that ties a fishing line to his toe and waits.

也許畢加索的另一半，是他自己被動的一面，是他把魚線系在腳趾上等待的一面。

Whereas the first fisherman is defined by strong perpendicular lines, the second's a mass of curved lines and contorted limbs.

第一個漁夫是由強烈的垂直線條勾勒出來的，而第二個漁夫則是由大量彎曲的線條和扭曲的肢體構成的。

Remembering the historical context and the stark defiance that is Guernica, what we might be seeing here is Picasso coming to grips not only with a passivity and weakness in his nature, but the artist's impotence in the face of the world's brutality.

回想起《格爾尼卡》的歷史背景和鮮明的反抗精神，我們在這裡看到的可能不僅是畢加索在面對自己天性中的被動和軟弱，更是藝術家在面對世界的殘暴時的無能為力。

His mother had died at the start of the year, and Spain was lost.

年初，他的母親去世了，西班牙也失去了聯繫。

Maybe this is why the boat floats in a weird no-man's land between the town and the women.

也許正因為如此，小船才會漂浮在小鎮和女人之間的一個奇怪的無人地帶。

Maybe this is why the scene feels uneasy, despite being beautiful in its rendering.

也許正因為如此，這一幕儘管渲染得很美，卻讓人感到不安。

There's more you can read into this painting and the rest of Picasso's work, but these five angles always start me down some fruitful paths, and each individual method of understanding is less important than the ways all of them connect and feed into each other.

你可以從這幅畫和畢加索的其他作品中讀出更多的東西，但這五個角度總能讓我找到一些富有成效的途徑，而每一種單獨的理解方法都不如所有這些方法相互聯繫、相互促進來得重要。

The historical context usually informs the personal, and the form grows out of the content, and your first reaction is often surprisingly incisive if you take the time to voice it or write it down.

歷史背景通常會影響個人情感，而形式則源於內容，如果你花時間說出或寫下來，你的第一反應往往會出人意料地精闢。

Picasso's legacy looms so large that the scholarship on him is vast and often contradictory, so my feeling is, why not decide the significance of his work for yourself?

畢加索留給後人的遺產是如此之多，以至於關於他的學術研究浩如煙海，而且往往自相矛盾，所以我的感覺是，為什麼不自己決定他的作品的意義呢？