Name: 安德魯·懷斯的繪畫是如何誕生的？🎨 (How Andrew Wyeth Made A Painting)
Uploaded: 2026-02-04T17:22:42.000Z
Duration: 7 min 37 s

程度副詞

I worked and worked and worked on just the field, that swell, that curved of the field.

我一直不斷地、不斷地、不斷地專注在那個田野、那個隆起、那個彎曲的田野上。

It's like building a house and then living in it.

這就像蓋一間房子然後居住其中。

then when I put it, it was right, that pink, like faded lobster shells that you find on the shore there.

然後當我放置顏料時，一切都對了，那粉紅色的，就像你在那裡岸邊找到的褪色的龍蝦殼。

Andrew Wyeth was 31 when he made Christina's World in Cushing, Maine, and

安德魯·懷斯在三十一歲時，於緬因州庫欣創作了 بتكون的畫作《克莉絲汀的世界》，

it's become one of the most recognizable American paintings of the 20th century.

這幅畫已成為二十世紀辨識度高的美國畫作之一。

There is unquestionably a great power in it, and

畫作中毫無疑問地蘊含著巨大的力量，

it's a power that is more accessible to the average person than some of the prevailing experimentation of that period.

而這股力量比當時一些主流的實驗性藝術，對一般人來說更容易理解。

That doesn't mean that it's any better or worse than a painting by, say, Jackson Pollock from the same year, only that, being realistic and dramatic, Christina's world more easily fits the shape of our memories, our dreams, our fears and cravings.

這不代表它會比同年份傑克森·波洛克的畫作來得好或差，只是因為《克莉絲汀的世界》寫實又戲劇化，更能輕易地契合我們記憶、夢境、恐懼和渴望的形狀。

Okay, so what's the story Andrew Wyeth wants to tell with this painting?

好的，那安德魯·懷斯想透過這幅畫講述什麼故事呢？

What we can see is a woman lying in a field, looking up a gently sloping hill to a house and barn in the distance.

我們看到一位女子躺在田野裡，望向一座緩坡，遠方有房子和穀倉。

Her shape and her gaze draw you diagonally across the canvas to the home in the upper right.

她的身形和目光引導你沿著對角線看過畫布，來到右上方的家。

From there, your eyes slip down the hilltop to the barn, then to the boundary where the tall grass meets the short, which curves forward and back down, dropping you off the woman again.

接著，你的目光會順著山丘滑落到穀倉，然後是高草與短草交界處，那裡彎曲著前後，又把你帶回到女子身上。

This constant movement from foreground to background intensifies the three dimensionality of the painting already felt in the careful work Wyeth puts into the swell and curve of the field.

這種從前景到背景的持續移動，增強了畫作的立體感，這立體感來自懷斯對田野隆起和彎曲的細膩處理。

Beyond this, there is a perfect asymmetrical balance between the woman and the shapes in the top third of the canvas.

除此之外，女子與畫布上半部三分之一的形狀之間，有著完美的不對稱平衡。

These are design features that communicate a feeling of serenity immediately, without us even knowing why at first, like a bass note that's too low to hear, but

這些設計元素能立即傳達一種寧靜感，即使一開始我們不知道為什麼，就像一個低到聽不見的低音，但

And yet, as we begin to look closer at Christina's world, a few things start to work against this calm.

然而，當我們開始仔細看克莉絲汀的世界時，有些事物開始打破這種平靜。

For example, the colors, as in many of Wyeth's paintings, are muted, reflecting the particular austerity of New England landscapes, a common image in early American art and thought.

例如，和懷斯許多畫作一樣，色彩都很柔和，反映了新英格蘭景觀的特殊樸實感，這是早期美國藝術與思想中常見的意象。

Even the woman's dress, which is the most striking color on the canvas, is a subdued pink, like faded lobster shells, as Wyeth describes it.

就連畫布上最引人注目的顏色——女子的洋裝，也是一種柔和的粉紅色，就像褪色的龍蝦殼，正如懷斯所描述的。

The next thing that stands out is the woman's posture, especially her thin and contorted arms, the way her hands grip the earth with a kind of nervous energy.

接下來引人注目的是女子的姿態，尤其是她纖細扭曲的手臂，以及她用一種緊張的能量緊抓地面的樣子。

They are the only hint of what might be going on in her head.

這些是她腦中可能發生的事的唯一線索。

Facing her away from the viewer creates an absence that in our interpretation of the scene, of the story, we're desperate to fill.

她背對著觀者，造成了一種缺席感，在我們詮釋這個場景、這個故事時，我們極力想填補它。

所以我們把自己放在她的位置。

But that doesn't quite dispel the feeling of inscrutability, of not knowing, that charges the painting with tension.

但這並不能完全消除那種難以捉摸、不知所以的感覺，這種感覺為畫作注入了張力。

There is more we can know about the woman in Christina's world if we want to.

如果我們想知道更多，關於克莉絲汀世界裡的這位女子，還有更多我們可以瞭解的。

Anna Christina Olson, who lived in the house from the painting with her brother Alvaro Olsen, suffered from Charcot Marie tooth disease, a neuromuscular disorder that robbed her of the use of her legs.

安娜·克莉絲汀·奧爾森，她跟她的哥哥阿爾瓦羅·奧爾森一起居住在畫作中的那間房子裡，她罹患了夏考氏馬利氏齒狀病，這是一種神經肌肉疾病，導致她雙腿無法使用。

She refused to use a wheelchair, however, preferring to crawl using the strength of her arms.

不過，她拒絕使用輪椅，寧願靠著手臂的力量爬行。

I saw her crawling out to a little truck garden she had next to the house one day, and

有一天，我看到她爬出房子，到旁邊一個小菜園裡，

it dawned on me and I went home that night.

當時我突然靈光一閃，那天晚上就回家了。

I remember there was a small party being given at the James house.

我記得當時詹姆斯家正在辦一個小型派對。

And I remember in the middle of the party, I rushed out into a room in the studio that I had painted in and kept my material and made a quick notation of society, of Christine, the field, the house in the background.

我記得派對進行到一半，我衝進工作室裡一個我曾在那裡畫畫、存放材料的房間，快速地記錄下當時的景象，包括克莉絲汀、田野，還有背景的房子。

Olsen was 55 at the time of the painting.

奧爾森在畫作完成時是五十五歲。

But if the figure in that pink dress looks more youthful, that's because Wyeth used his wife Betsy for a model of Christina's torso.

但如果畫中穿著粉紅色洋裝的身影看起來比較年輕，那是因為懷斯用了他的妻子貝琪來當克莉絲汀軀幹的模特兒。

Only the arms portray her real condition.

只有手臂描繪出她真實的狀況。

To Wyeth, Christina's world wasn't the portrait of someone at just one point in time.

對懷斯來說，克莉絲汀的世界不只是一個時間點的肖像。

It was a painting of Christina's whole life, her weakness, but also her strength and vitality, and

那是一幅畫，描繪了克莉絲汀的整個人生，她的脆弱，但也展現了她的力量與生命力，

above all, the deep, lifelong connection she had to this old family house in Maine and the land surrounding it.

最重要的是，她與緬因州這座老家房子以及周遭田野之間，那份深刻、一輩子的連結。

You know, by painting a symbolic representation of that connection, by setting it in perpetual motion with this composition, by laboring for weeks and weeks on the grass and the shape of the field.

你知道的，透過描繪那份連結的象徵性，透過這個構圖讓它永遠動態地呈現，透過數週數週地描繪草地和田野的形狀。

Wyeth, I think, was looking for a secret nature.

我想，懷斯當時是在尋找一種祕密的自然。

His work descends from the tradition of Emerson and Thoreau, who found in the natural world the basis for a new American philosophy.

他的作品傳承自愛默生和梭羅的傳統，他們在自然世界中找到了新美國哲學的基礎。

Emerson writes in his essay Nature Crossing a bare common in snow puddles, at twilight, under a clouded sky, without having in my thoughts any occurrence of special good fortune, I have enjoyed a perfect exhilaration.

愛默生在他的散文《自然》中寫道：在黃昏時分，在陰雲密佈的天空下，穿過積雪的淺水坑，走過一片光禿禿的公共地，腦海中沒有任何特別幸運的念頭，我卻感到一種完美的興奮。

I often feel if I could only be not there to paint.

我常常覺得，如果我能不畫畫就好了。

Just a pair of eyes would be so marvelous.

If I could just do something and disappear and just be terrific.

如果我能做點什麼然後消失，然後變得超棒。

In his painting, Andrew Wyeth becomes Emerson's transparent eyeball.

在他的畫作中，安德魯·懷斯變成了愛默生的透明眼球。

He sees in the nature around him, even in the barren landscapes of New England, something profoundly real.

他在他周遭的自然景觀中，即使在紐英格蘭貧瘠的田野裡，也看見了深刻真實的事物。

As an artist, he helps us to see it, too.

作為一位藝術家，他也幫助我們看見它。

And it's a reminder, frankly, I need Living in a city, living online, it's easy to go about your day and see nothing at all now.

坦白說，這提醒了我，住在城市、住在網路上，很容易就這樣過一天卻什麼都沒看見。

Getting back in touch with nature isn't a promise of happiness, as the tensions in Christina's world are careful to show.

回歸大自然並不是幸福的保證，正如《克莉絲汀的世界》中的張力小心地呈現的。

But there is, I think, a piece of us in the land, in the trees, in the sky, and

但我想，我們的一部分就在這片土地、樹木、天空裡，

a sense of wholeness waits for us when we can remember not to forget it.

當我們記得別忘記它，一種完整感就在等著我們。

想像一下，如果我當時沒在那裡呢？

But you see how important it is to be in a surrounding and breathe it.

但你看，身處周遭環境並感受它有多重要。

If you're lucky and you're perceptive enough to catch it.

如果你夠幸運，而且夠敏銳地捕捉到它。

Hey everybody, thank you so much for watching.

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如果你還不知道，你可以用 Squarespace 製作出任何你需要的精美網站。

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個人網站、婚禮網站、商業網站或作品集網站。

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而且只要點幾下，你就能擁有一個準備就緒的網站。

Their design team has crafted really amazing templates that work on computer browsers and on mobile, switching perfectly between the two.

他們的設計團隊打造了非常棒的範本，無論在電腦瀏覽器或手機上都能使用，兩者之間切換得非常完美。

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你只要點幾下就能整合自己的照片和影片，而且

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當你準備好要上線時，前往 squarespace.com nerdwriter，你的第一個購買項目可享 10% 折扣。