Name: 展覽導覽｜寂靜之視：赫蓮娜．謝爾貝克畫作特展 | 大都會博物館展覽 (Exhibition Tour— Seeing Silence: The Paintings of Helene Schjerfbeck | Met Exhibitions)
Uploaded: 2026-01-08T14:49:50.000Z
Duration: 13 min 52 s

When you see these works, they have an emotional quality.

當你看到這些作品時，它們帶有一種情感特質。

程度副詞

它們以一種非常細膩的方式喚起情感。

There is such a remoteness and otherworldliness, a silence in these pictures.

這些畫作中有一種遙遠、超凡脫俗的寂靜。

You become part of a dialogue with these works that is really profound and it draws you in.

你會與這些作品展開一場深刻的對話，並被深深吸引。

People see not so much themselves, they see states of being, states of sensibility that makes a very intimate relationship.

人們看到的不是那麼多關於他們自己，而是看到一種存在狀態、一種感受力，這建立了一種非常親密的關係。

Helm Schafberg is one of the great outstanding painters of the late 19th and especially the 20th century, who probably a lot of people have not yet heard of, but who is a national icon.

Helm Schafberg 是 19 世紀末，特別是 20 世紀，一位非常傑出的大畫家，很多人可能還沒聽過他的名字，但他卻是國家級的偶像。

A celebrated painter in Finland and in Sweden, Elena Scharfbeck is the prize of Finland.

Elena Scharfbeck 是芬蘭和瑞典備受讚譽的畫家，她是芬蘭的瑰寶。

She was born in 1862 in Helsinki and died in Stockholm in 1946.

她於 1862 年出生於赫爾辛基，1946 年在斯德哥爾摩逝世。

From the time she was 11 years old, she was recognized as a prodigy.

從她 11 歲開始，她就被認為是個神童。

Scharfbeck started as a naturalist and then progressed to her own brand of modernism.

Scharfbeck 最初是個自然主義畫家，之後發展出她獨特的現代主義風格。

She developed a style of painting all her own.

她發展出了一種獨一無二的繪畫風格。

Seeing Silence, the Paintings of Helen Schafberg really is the first major show of Helen Schafberg in the United States.

《看見寂靜：Helm Schafberg 的畫作》是 Helm Schafberg 在美國的首個大型展覽。

This exhibition really introduces her to an American audience.

這次展覽確實將她介紹給了美國觀眾。

It's also a fascinating story of an artist's journey and it's a sensation to have these works here in New York at the Mataborld Museum.

這也是一個關於藝術家旅程的迷人故事，能在紐約的 Mataborld Museum 看到這些作品，真是太令人興奮了。

We had in mind not to do a retrospective of Scharfbeck, but to condense the very finest masterpieces of her career into passages of her art which actually track her life story as well.

我們原本的構想不是做一個 Scharfbeck 的回顧展，而是將她職業生涯中最精緻的傑作濃縮成幾個段落，這些段落也確實能追蹤她的生命故事。

There's often a lot of mystery in her work.

她的作品中常常充滿了神祕感。

She is paring down her subjects to the simplest objects.

她將她的主題簡化為最簡單的物件。

Her technique is also idiosyncratic and extraordinary.

She has a limited palette, white, black, blue.

她的調色盤很有限，只有白色、黑色和藍色。

Her figures never stare at her as she paints them, nor does she stare at them.

她畫人物時，人物不會看著她，她也不會看著人物。

The more spare they become, more and more enigmatic they become.

越是簡潔，就越是充滿神祕感。

You get a clear understanding of her development and growth.

你能清楚地瞭解她的發展和成長。

From the very first paintings until the very final, spectral, searing, late self portraits, Scharfbeck was on her own path.

從最初的畫作到最後、空靈、灼熱、晚期的自畫像，Elena Scharfbeck 一直走在自己的道路上。

She was a very quiet, remote, introspective woman.

她是個非常安靜、疏離、內省的女人。

And yet she had fierce determination against all odds to pursue her painting.

然而，她卻有著強烈的決心，不畏艱難地追求她的繪畫。

The exhibition begins with Scharfbek's first full scale paintings.

展覽從 Elena Scharfbeck 的第一批全尺寸畫作開始。

These are paintings that she made actually in Finland.

The subject is the death of a 16 year old count William Schwerin.

主題是 16 歲的威廉·施威林伯爵之死。

He died in what is known as the Finnish War between Sweden and Russia.

他在瑞典和俄羅斯之間的芬蘭戰爭中喪生。

It's a very touching Very humane painting and so accomplished for an 18 year old.

這是一幅非常感人、非常人性化且在 18 歲時就已如此傑出的畫作。

It won a prize at the Finnish National Society Annual Exhibition and she then won a stipend from the government to travel to Paris.

這幅畫在芬蘭國家協會年展中獲獎，隨後她獲得政府獎學金前往巴黎。

She was conforming to an expectation to memorialize Finnish history, but it stands so far apart from her later work in Paris.

她當時是為了符合紀念芬蘭歷史的期望，但這與她後來在巴黎的作品截然不同。

She was obviously responding to her teachers, but she's already working beautifully with light in terms of portraiture.

她顯然在回應她的老師，但她在肖像畫的光線運用上已經非常出色。

She is still individualizing her figure, but already here she's softening her strokes, she's adding color in areas that aren't necessarily descriptive but that are aesthetically pleasing to her.

她仍然在刻劃人物的獨特性，但在此她已經在柔化筆觸，在非描述性但對她而言具有美感的區域添加色彩。

And it has a lot of feeling, this painting, and it was painted in 1884 when she was 22.

這幅畫充滿情感，創作於 1884 年，當時她 22 歲。

That is a remarkable fact that she was already so proficient at such a young age.

她這麼年輕就已經這麼厲害，這真是令人驚嘆的事實。

She was already manipulating her language to, as she said, seek the truth.

她已經在運用她的語言，用她自己的話來說，是為了尋求真理。

Shafrak actually painted this in St. Ives, the picturesque coastal town in Cornwall, England.

Scharfbeck 其實是在英格蘭康瓦爾郡風景如畫的海濱小鎮聖艾夫斯畫了這幅畫。

It was shown publicly in Helsinki on its completion, and it was damned by the press because they were looking for traditional landscape painting.

畫作完成後在赫爾辛基公開展出，但卻遭到媒體的抨擊，因為他們期待的是傳統風景畫。

這幅畫的表現手法非常、非常優美。

If you look at the touches of color, she's reaching a level of abstraction already in 1883, presaging what is to come, of course, in later decades.

如果你看看這些色彩的筆觸，她在 1883 年就已經達到了一種抽象的境界，預示著後來幾十年的發展。

In 1902, Scherfbeck moved from Helsinki to a small railroad town, Hyvinka, where she joined her widowed mother, essentially to look after her, which enabled Scherfbeck to leave the distractions of Helsinki and paint full time.

1902 年，Scherfbeck 從赫爾辛基搬到一個名為 Hyvinka 的小型鐵路小鎮，與她寡居的母親同住，主要是為了照顧母親，這讓 Scherfbeck 得以擺脫赫爾辛基的紛擾，全心投入繪畫。

She was there with her mother until her mother died in 1923.

她在那裡陪伴母親直到 1923 年母親過世。

To my mind, these figure paintings are among the most powerful and evocative of, as you said, a sensibility.

在我個人看來，這些人物畫作是最有力量、最能喚起情感的，正如你所說，是一種感受力。

She's continuing to hone her style and to render her language more and more spare.

她持續精進自己的風格，讓她的語言越來越精煉。

And I think they also keep a certain distance from you as a viewer.

而且我覺得她們也跟觀看者保持著一種距離感。

You almost like, approach them while they are still immersed in their own spiritual sphere.

你感覺就像是，在你靠近她們的時候，她們依然沉浸在自己的精神世界裡。

And I think that actually makes them also so accessible.

而且我覺得這反而讓她們也如此容易親近。

You're part of, I would say, an emotional bond and the reflection that you have on yourself with it.

你參與其中，我會說，是一種情感的連結，以及你對自己所產生的反思。

These are not portraits, these are figure paintings.

這些不是肖像畫，而是人物畫。

And that she does from her very early years, actually, she used local sitters, but she was, of course, using her knowledge of art history and also applying her deep training in different techniques to create work that is quite connected with artistic developments both of the time as well as of the past.

而且她從很早期的階段就開始這樣做，她確實會找當地人當模特兒，但她當然也運用了她對藝術史的知識，並且應用她在不同技法上的深厚訓練，來創作與當時的藝術發展以及過去的藝術發展都緊密連結的作品。

This painting, the Les scholes, dates to 1920, when Scherfbeck was actually in a picturesque coastal village called Thomassari, the Sitter is Sigrid Nyberg, who was her landlady in her boarding house.

這幅畫，《Les scholes》，創作於 1920 年，當時 Scherfbeck 其實身在一個風景如畫的海濱小鎮 Thomassari，畫中的模特兒是 Sigrid Nyberg，她是她寄宿家庭的房東。

She typically recruited anyone from the community, wherever she was, to pose for her.

她通常會從她所在的社區裡找任何人來為她擺姿勢。

It's a striking painting in and of itself, but it's also a very telling example of her idiosyncratic style, developed at mid career, where she would add subtract paint layers from her canvas, using a palette knife and stylus to actually remove paint to the point where she was often actually exposing the weave of the canvas.

這幅畫本身就非常引人注目，但它也是她個人獨特風格的一個非常能說明問題的例子，這種風格是在她職業生涯中期發展起來的，她會在畫布上添加或去除顏料層，使用調色刀和筆針來實際去除顏料，甚至到了她經常會露出畫布紋理的程度。

So this one is actually one of the most elaborate in regard to using different techniques.

所以這幅畫其實是運用不同技法中最精緻的一幅。

It is a work that depicts a sitter, but actually depicts a modern woman.

這是一幅描繪一位模特兒的作品，但實際上描繪的是一位現代女性。

And I think that that's also important to see that Helen Schafberg as an artist was development of the modern woman.

我認為這點也很重要，我們可以看見 Helen Schafberg 作為一位藝術家，是現代女性的發展。

I think she wanted to paint a certain prototype of a woman.

我認為她想畫出某種女性原型。

There's a certain power, actually, I think, in her expression.

So the severity, or what we now see as a strong expression, that I think is very intentional and powerful for us, of course, a great and important acquisition.

所以這種嚴肅感，或者說我們現在看到的強烈表情，我認為是非常刻意且有力量的，對我們來說，當然是一次很棒也很重要的收藏。

And it is the very first painting of Helen Schafberg in an American collection.

這是 Helen Schafberg 的作品首次被美國收藏。

對我們來說，這是一個絕佳的機會。

In this gallery, we deviate from chronology rather, I've decided to put the landscapes and paintings that sort of speak to each other in terms of her actual aesthetic.

在這個展廳裡，我們不按時間順序，而是決定將景觀畫和畫作放在一起，讓它們在實際美學上互相呼應。

So we have some landscapes from Fiesole, the hill town outside Florence, a painting evocative of Renaissance pictures.

所以我們有來自佛羅倫斯郊區的山城 Fiesole 的一些風景畫，一幅讓人聯想到文藝復興時期畫作的畫。

And then on this wall, we have only five still lifes in the exhibition.

然後在這面牆上，我們這次展覽只有五幅靜物畫。

She didn't paint still lifes to the extent that she did figure paintings.

她畫靜物的程度，不像她畫人物畫那麼多。

But this gives you a microcosm of the evolution of her aesthetic over time.

但這能讓你一窺她美學隨著時間演變的縮影。

Very beautifully brushed, very softly painted, very mainstream, I would say.

筆觸非常優美，畫得很柔和，我會說是非常主流的。

But here we are marching forward in time to 1930, where she's using a very dry pigment, which you'll see in several of these paintings.

但我們在這裡是跟著時間往前走，來到 1930 年，那時她使用一種非常乾的顏料，你會在好幾幅畫裡看到。

She's outlining her pears with a very strongly delineated black line.

她用非常清晰的黑色線條勾勒她的梨子。

And here you have an entire passage of canvas that's been scraped down to the bone.

在這裡，你有整片畫布都被刮到露出底層的痕跡。

Here your eye really recognizes what she's doing with her paint.

在這裡，你的眼睛能真正辨識出她對顏料的處理方式。

And she's creating this very energetic, textured surface here, where the objects sort of lose clarity, lose geometry, lose form.

她在這裡創造出非常充滿活力、有紋理的表面，物體在這裡變得模糊、失去幾何感、失去形狀。

The painting is a sort of pulsating example of her use of bright color, which one rarely sees elsewhere in her work, in the growing abstraction of even a still life.

這幅畫是她運用鮮豔色彩的一個充滿活力的例子，這在她的作品中很少見，即使是在靜物畫日益抽象化的過程中。

She's as far removed from Paul CEZANNE as you could be at this point.

在這一點上，她已經離保羅·塞尚（Paul CEZANNE）非常遙遠了。

And here, this is a further example of the dissolution of form, the absence of geometry.

在這裡，這是形狀消解、幾何消失的另一個例子。

And one is struck by this black apple, considered by some as metaphorical, given the fact it was painted in 1944, in the worst years of World War II.

這顆黑色的蘋果，有些人認為它帶有隱喻，考慮到這幅畫創作於 1944 年，也就是第二次世界大戰最艱難的時期，這讓人印象深刻。

The shadow is just as prominent as the apple itself.

It's a fascinating abstraction, as a simple still life image goes.

就一張簡單的靜物畫而言，這是一個引人入勝的抽象作品。

In 1915, Scherfbeck's dealer, Gosta Stenman, introduced a young forester called Einer Reuter.

1915 年，Scherfbeck 的經銷商 Gosta Stenman 介紹了一位年輕的林務員 Einer Reuter。

He was 18 years younger, and I think the love was a deep emotional attachment.

他小她 18 歲，我認為這份愛是一種深刻的情感連結。

Each had a great passion for art, and so they were intellectually and emotionally very much in tune with one another.

他們倆都對藝術有著極大的熱情，所以在智識和情感上都非常契合。

She wrote him hundreds and hundreds of letters in her lifetime.

At a certain moment in time, he married and she had a nervous breakdown.

在某個時刻，他結婚了，而她則出現了神經衰弱。

She was devastated, so she clearly wished for more of him and she painted several portraits of him.

她心碎了，顯然她更渴望他，於是她畫了好幾幅他的肖像。

This one she amusingly titled the Sailor.

這幅她有趣地命名為「水手」。

He was no sailor, but it was painted in this coastal town, Thomassari, where they actually spent two weeks together, painting one summer.

他並非水手，但這幅畫是在這個沿海城鎮 Thomassari 畫的，他們實際上在那裡一起度過了兩週，有一個夏天在畫畫。