Name: 藝術是如何抵達傑克森·波洛克？ (How Art Arrived At Jackson Pollock)
Uploaded: 2026-02-07T17:10:11.000Z
Duration: 6 min 56 s

When should you start the story of this painting?

這幅畫的故事，你應該從什麼時候開始講起呢？

Maybe here in Cezanne's studio at the close of the 19th century?

又或者是在19世紀末，塞尚的畫室裡？

Or maybe the only place you can really find the genesis of this canvas is in Jackson Pollock's mine.

又或者，這幅畫的真正起源，其實是在傑克森·波洛克的礦場裡。

就是他開始「滴畫法」的那一天。

Because this painting, one, number 13, 1950, is the only abstract work of art that has ever floored me in person.

因為這幅畫，一號，13號，1950年，是我親眼見過唯一一幅讓我震懾的抽象藝術作品。

As soon as my eyes caught it, it made me feel something.

我一看到它，就感覺到了什麼。

I don't know that I could describe the feeling, but

我不太確定能不能形容那種感覺，但是

I didn't have to go searching for it either.

A problem I often have with non figurative paintings, where I'm standing in front of a canvas, trying to figure out the reaction I'm having to it, feeling guilty because nothing's coming.

我常常在看非具象繪畫時遇到的問題，就是站在畫布前，試圖釐清自己對它的感受，結果什麼都沒感覺到，反而覺得很罪惡。

I don't think the power of this Pollock depend on its place in the history of art.

我覺得這幅波洛克的畫作，它的力量並不在於它在藝術史上的地位。

Its style, its use of color, its hyperactivity are intrinsic qualities.

它的風格、用色、那種過度活躍，都是它內在的特質。

But I do think the history of art has a lot to say through Pollock strip paintings, which he'd been making by this point for about four years.

不過我認為，藝術史透過波洛克的條紋畫，確實說了很多故事，而他當時已經畫了大概四年了。

In many ways, they're the culmination of something that has a foggy beginning about a century or two before.

很多方面來說，它們是一個模糊開端的一種集大成，那個開端大概發生在一兩百年前。

With the gradual end of church and noble patronage of the arts.

隨著教會和貴族藝術贊助的漸漸式微。

And the dawn of painters painting what was important to them.

以及畫家開始畫他們認為重要的東西的時代來臨。

There's no fixed point where you could mark the beginning of modern arts.

沒有一個確切的點，可以標記現代藝術的開始。

Some find it in this painting by Minet from 1863, with its flattened image and scandalous subject that flouted the values of the Paris Salon.

有些人認為是從這幅1863年米內的作品開始，它扁平的圖像和聳動的主題，挑戰了巴黎沙龍的價值觀。

And I think it's as good a moment as any.

我覺得這是一個很好的時機點。

That year, fully 2/3 of submissions to the Salon were rejected.

那一年，高達三分之二的參展作品被沙龍拒絕。

And after a public outcry, Emperor Napoleon III authorized a second salon to feature them.

在公眾強烈抗議之後，拿破崙三世皇帝授權舉辦第二個沙龍來展出這些作品。

Called, appropriately, the Exhibition of Rejects.

名稱也很貼切，就叫做「落選者展覽」。

And though these paintings were criticized as much as they were praised, it marked a moment of legitimacy for art that stood outside the academy's hierarchy of quality.

雖然這些畫作備受批評也備受讚揚，但它標誌著一種藝術獲得了合法性，這種藝術超越了學院的品質等級制度。

Once the cat was out of the bag, things started moving very quickly.

一旦事情開始了，發展就非常迅速。

Less than 10 years later, Claude Monet and his compatriots launched into Impressionism, concerning themselves not with the objects they see in the world, but

不到十年後，克勞德·莫內和他的同伴們開創了印象派，他們關心的不是看到的世界裡的物體，而是

Impressionism, in turn, starts a chain reaction of, well, reaction.

印象派反過來又引發了一連串的回應。

The Post Impressionists begin to dispense with the effects of light and the reality of color and paint according to subjective experience and emotional vision.

後印象派開始擺脫光線的效果和色彩的真實性，而是根據主觀經驗和情感視野來作畫。

Then the Fauvists take the arbitrariness of color to Kaleidoscopic extremes in the first decade of the 20th century.

接著，在二十世紀初，野獸派將色彩的任意性推向了萬花筒般的極致。

I mean, just look at the transformation that's happened to painting.

我的意思是，看看繪畫發生的轉變。

In just 40 short years, art has unraveled its centuries long aim of reproducing the physical world in perspective, color and form is rapidly being abandoned.

在短短的四十年裡，藝術已經解開了它幾個世紀以來在透視、色彩和形式上複製物理世界的目標，並且正在迅速被拋棄。

Vasily Kandinsky, influenced by the Impressionists, by the Fauvist, by music and by the geometric spirituality of Theosophy, starts pulling away from representation entirely.

瓦西里·康定斯基受到印象派、野獸派、音樂以及神智學的幾何靈性的影響，開始完全擺脫寫實主義。

In a groundbreaking book he writes, the more abstract is form, the more clear and direct its appeal.

在他寫的一本開創性的書中，他提到形式越抽象，它的吸引力就越清晰、越直接。

And in 1910 he paints this in which no objects from our world can be recognized at all.

而在1910年，他畫了這幅畫，畫中完全無法辨認出我們世界的任何物體。

Except it turns out that Hilma Aufklint was actually painting abstracts at least three years prior to this.

不過，事實證明，希爾瑪·阿夫特克林特實際上在三年前就已經在畫抽象畫了。

But no one knew that until many years later.

但直到很多年後，才有人知道這件事。

Meanwhile, Pablo Picasso and Georges Braque were shaking up painting in their own way by formalizing Cezanne's experiments with multiple perspectives into Cubism.

同時，畢卡索和喬治·布拉克則以他們自己的方式顛覆繪畫，將塞尚的多視角實驗形式化為立體主義。

The Cubists used geometry to show reality from many angles simultaneously.

立體派藝術家運用幾何學同時從多個角度來呈現現實。

Kandinsky takes inspiration from this, but is more interested in abstracting geometry from its representational source.

康丁斯基從中汲取靈感，但更感興趣的是將幾何學從其寫實的根源中抽離出來。

The sparks that fly from these investigations create several other movements.

這些探索所激發的火花，催生了其他幾個藝術運動。

Futurism in Italy, De Stael in the Netherlands, Suprematism then Constructivism in Russia, Dada in Switzerland, and

例如義大利的未來主義、荷蘭的德·史蒂爾、俄羅斯的至上主義和構成主義，以及瑞士的達達主義，

eventually surrealism in the 1920s and 1930s.

以及最終在二十世紀二十到三十年代的超現實主義。

A key aspect of the Surrealist manifesto is the focus on automatic creation.

超現實主義宣言的一個關鍵面向，是強調自動創作。

Writing or speaking without forethought as a way to access the unconscious mind.

也就是不經思考地書寫或說話，以此來連結潛意識。

Painters like Andre Masson applied this to the visual arts, letting ink run free across paper, creating fluid, dreamlike drawings prefiguring the work of Jackson Pollock.

像安德烈·馬松這樣的畫家將此應用於視覺藝術，讓墨水在紙上自由流淌，創作出流暢、夢幻般的畫作，預示了傑克森·波洛克的作品。

As World War II ravaged Europe, several of the Surrealists and other European artists escaped to New York City and began to mix with a new school of American painters.

隨著第二次世界大戰蹂躪歐洲，一些超現實主義者和其他歐洲藝術家逃往紐約市，並開始與一群新興的美國畫家交流。

The Americans synthesized and reacted to all the various European styles.

美國人綜合並回應了所有各種歐洲風格。

The Abstract Expressionists, as they were called, made work that was deeply personal, formally inventive and confrontational.

被稱為抽象表現主義者，他們的作品深刻個人化、形式創新且具對抗性。

Exiled Surrealist Wolfgang Palin put it, paintings no longer represent.

流亡的超現實主義者沃爾夫岡·帕林說，畫作不再是寫實主義。

Today it has become the role of the painting to look at the spectator and ask him, what do you represent?

如今，畫作的角色變成注視觀者，並問他：「你代表什麼？」

Pollock's drip paintings push abstraction to its furthest limit.

普洛克的滴畫將抽象推向極致。

Even in Kandinsky, lines still bound recognizable shapes.

即使在康丁斯基的作品中，線條仍勾勒出可辨識的形狀。

In Pollock, there are no shapes, no suggestions to grab onto.

在普洛克的作品中，沒有形狀，也沒有可供依附的提示。

The line itself dancing across the canvas is set free, containing nothing, separating nothing.

線條本身在畫布上舞動，獲得自由，不包含任何東西，也不分隔任何東西。

There is no inside, no outside, nowhere for your eyes to rest.

沒有內在，沒有外在，沒有地方讓你的眼睛停留。

All that remains is energy, wild emotional energy that peers into you, not the other way around.

只剩下能量，狂野的情感能量注視著你，而不是反過來。

I think that's why I reacted so strongly to this painting in person.

我想這就是為什麼我在現場看到這幅畫時，會有這麼強烈的感受。

You know, like I said before, these drip paintings have intrinsic value, but

你知道的，就像我之前說的，這些滴畫有其內在價值，但

I also think they speak to something deep in human nature.

我也覺得它們觸及了人類天性中一些深層的東西。

That we are obsessive in the same way that we won't stop until we're flying among the stars.

我們是如此執著，執著到停不下來，直到我們在星辰間飛翔。

It took less than a hundred years for this to become this.

這不到一百年的時間，就從那樣變成了這樣。

A fast changing world contributed hugely, of course.

當然，快速變化的世界也貢獻良多。

But beyond that, I do believe there's a drive in us to take things as far as they can go.

但除此之外，我真的相信我們內心有一種力量，想把事物推向極致。

And the Century of Modern Art is an exhilarating example of that.

而《現代藝術世紀》就是一個令人振奮的例子。

It's just inspiring how irrepressible human creativity can be.

人類的創造力真是太有韌性了，光想就讓人覺得很受啟發。

This episode was brought to you by Squarespace.

本集節目由 Squarespace 贊助播出。

If you don't know, you can use Squarespace to make sharp, beautiful websites for anything you might need.

如果你還不知道，Squarespace 可以幫你打造出專業又吸睛的網站，適用於各種需求。

A personal site, a wedding website, a site for your business or portfolio.

無論是個人網站、婚禮網站，還是你的事業或作品集網站。

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

他們的設計團隊打造了許多專業級的範本，無論是在電腦瀏覽器還是手機上都能完美呈現，兩者之間的切換也相當流暢。

You can integrate your own photos and videos with just a few clicks and you can even link your social account so that you can auto post to Twitter and Facebook all from within Squarespace.

你只要輕鬆點幾下，就能嵌入自己的照片和影片，甚至還能連結社群帳號，讓你直接在 Squarespace 上自動發布到 Twitter 和 Facebook。

Head over to squarespace.com for a free trial.

前往 squarespace.com 即可享有免費試用。

And when you're ready to launch, don't forget to go to squarespace.com nerdwriter for 10% off your first purchase.

準備好上線了嗎？別忘了前往 squarespace.com nerdwriter，首次購買可享 9 折優惠。