阿利卡：沒有愛，我不能去畫。

他用眼睛撫觸着日常，觀看着世界，像是不曾看見過似的。一些隱藏的東西在塗抹中被打開，也許是生命的質感，也許是物之性格。總有些東西是你我忽視，或不曾這樣認真觀察的——角落的，局部的，個體的，團契的。換個視角也許真的會不同。

Sams Spoon

Oil on canvas

38 x 46 cm

Doron Sebbag, Tel Aviv

1990

我僅僅是畫我感興趣的，我不能以其他方式來畫，那怕是我畫別人訂的肖像畫也一樣，模特兒應該是我所喜歡的，沒有愛，我不能去畫。

——阿維格多·阿利卡《素描應該是有生命的》

章曉明譯

Two pears

Print on paper

Two Baguettes

Pastel on Whatman paper

25 x 73 cm

Tel Aviv Museum of Art

1990

Vine Peaches

Pastel on velvet paper

25 x 32.4 cm

Private collection

I984

Two apples and three pears on a Covered Sideboard

73 x 60 cm

Oil on canvas

1973

Pears

Oil on canvas

38 x 46 cm

Private collection, New York

1974

Corn

Pastel on emery paper

22.7 x 51cm

Private collection

1988

Potatoes

Oil on canvas

46 X 38 cm

The Duke of Beaufort. London

1989

Leeks in Green Wrappings

Oil on canvas

38 x 46 cm

Doron Sebbag, Tel Aviv

1991

Peonies

Oil on canvas

73 × 60 cm

Private collection

1991

Roses

Pastel on wove paper

42.7 x 47.5 cm

Crosby Kemper, Kansas City, Mo

1990

Left hand

Watercolour on wove paper

23.5 × 24.5 cm

Private collection

1975

當你即興作畫時，需要的條件是你必須從觀察對象的趣味中去衡量和協調所有的比例關係，由它開始輻射到整個畫面，海浪般的向四周蔓延，一旦你從外部開始就會不準確……我從一個點開始，擴展開來，並不知道最終怎樣完成。

——阿維格多·阿利卡

Still Lffe with Blue Napkin

65 x 45.5 cm

Oil on canvas

Private collection

1953

Tangerines with Blue Napkin

Pastel on coated Arches paper

16 × 50 cm

Private collection

1986

White shirt

Oil on canvas

65 × 46 cm

Michael Gleeson.White, Sydney

1985

Three Shirts

Oil on canvas

46 x 65 cm

Bud Garfield, Malibu, CA

1986

Four Hats

81 x 65 cm

Oil on canvas

private collection

1988

Towels and Sheets

Oil on canvas

100 x 65 cm

Private collection

1990

繪畫的基礎在於種種對色彩的調配，但它們無法在人工光線下看到，而且也不存在一種人們藉以推測和辨識這些看不到的色調和明暗配合的色彩常量。隨着色調的消滅（設想一下，有一座音樂廳，裏面聽不到伴音），色調上的精微之處也被壓抑，受到連累的還有精確的視覺、傑作的影響力……在人工光線下，一幅繪畫剩下來的只是它的圖像而已，這好比是從一瓶酒中取走了酒精，取走了它的芬芳，而只留下它的液體。不能正確地觀看繪畫，因此就無法分清繪畫的精微絕妙，而正是這些才構成了繪畫的品質。

——阿維格多·阿利卡《繪畫中品質標準的失敗》

孫善春譯孫周興校

Etching Tools

Oil on canvas

46 x 33 cm

Courtesy Marlborough Fine Art, London

1992

Red and Blue

Oil on canvas

45.7 x 30.5 cm

Joseph Goldyne, San Francisco, CA

1984

A Bulb

oil on canvas

25.5 × 18 cm

Israel Museum, Jerusalem

1976

Teapot and Cup

27 x 35 cm

布面油畫

1979

光達美術館

Tea Time

Oil on canvas

38 × 46 cm

Courtesy Marlborough Fine Art, London

1992

Bag and Umbrella

Oil on canvas

73 x 60 cm

Joseph D Hackmey, Tel Aviv

1991

Parka and Umbrella

Oil on canvas

81 x 100 cm

Courtesy Marlborough Fine Art, London

1993

Morning

Oil on canvas

46 x 38 cm

Private collection

1989

The Typewriter

Oil on canvas

81 x 65 cm

Private collection

I986

對於真正的藝術家來說，藝術中的完美性乃是自然地改善藝術。用普桑的話來說，不通過辛苦的勞作而是通過靈感。這已屬誇大之辭。人們憑藉對完美性的追求奮力探索內在真理，這並不能比作完善一件人工製品或者一臺機器。對完美性的追求會帶動你，而不是你帶動它。

——阿維格多·阿利卡《繪畫中品質標準的失敗》

孫善春譯孫周興校

Memento S. B

Pastel on grey board

55 x 50.2 cm

Private collection

1991

Hanging Broom

116 × 89 cm

oil on canvas

1974

Red and Black Umbrellas

Oil on canvas

尺寸不詳

Stool and Shoes

Oil on canvas

73 × 60 cm

Courtesy Marlborough Fine Art, London

1993

Thonet Chair and Carpet

Oil on canvas

100 x 81 cm

Courtesy Marlborough Fine Art, London

1991

Green Sneakers

Oil on canvas

81 x 65 cm

Courtesy Marlborough Fine Art, London

1990

1890到1900年間，“笨拙畫風”被視爲真誠的保證，並將塞尚和梵高推向前臺。如今，人們以爲笨拙繪畫是極爲感人的，勝過拉斐爾或者丟勒的大師之作，笨拙勝過了完美性——吸引力讓位給了原始性。作爲一種條件，對完美性的逐漸棄絕得到了一些畫家們提供的支持，這些畫家們矯揉造作，不具靈氣。這樣導致的結果就是崇高概念的取消，刻意的獨創性上場。理論家們（而非真正的藝術家）很快就得出結論，認爲厭惡而非吸引纔是辦別新藝術的試金石。以往等同於卓越的性質，如今則等同於“震驚”。人們對感官反應的信賴的喪失導致了一種理論，即否定的反應才應該信賴。

這種觀點來自於印象派長期所受的冷落，它從二十世紀二十年代到隨後的三十年間一直充當着一種強制性的警告：它們開始相信厭惡而非吸引纔是新的標準。至今尚未被言明的藝術品給人的反應可能是一種震驚，但震驚本身並不能成爲一種說明該作品是或將會成爲一種啓示的標誌。這些作品的絕大部分仍然作爲藝術策略存在於意圖領域，並最終慢慢枯萎。

——阿維格多·阿利卡《繪畫中品質標準的失敗》

孫善春譯孫周興校

Tubes of paint in their drawer

Pastel on velvet paper

49.9 x 32.9 cm

presented by the Friends of the Tate Gallery

1985

Palettes, Can and Bottle

Pastel on velvet paper

40.8 x 32.7 cm

Private collection

I984

Near the Window

Oil on canvas

130 x 97 cm

Courtesy Marlborough Fine Art, London

1992

Canvas and Tool

Oil on canvas

61 × 50 cm

Courtesy Marlborough Fine Art, London

1986

Corner of my Studo

Oil on canvas

65 × 50 cm

Private collection

I986

幾千年的時光才使個人的鑑賞力得以克服那些教條的標準。但僅僅幾十年的時間就可以藉助對批判方面的強化和對感性方面的削弱而將其連根拔起。雖然如此，真正的藝術品仍然通過其直接效果迴盪在每一個敏銳於視覺感受的、熱誠的個體心中。只要它決定於一種內在的真理，這種品質上的效果就並非相對而是絕對的。正是這內在的真理拓展了主觀的世界，而這些主觀的世界又深化了客觀世界。它給了我們一杯水，可這杯水在夏爾丹之前並不存在；或者它藉助幾張彩色的剪紙給予我們一種情緒，它也不可能產生於馬蒂斯之前。

——阿維格多·阿利卡《繪畫中品質標準的失敗》

孫善春譯孫周興校

Studio Window

Oil on canvas

162 X 130 cm

Private collection

1991

Cracks in the wall

Oil on canvas

81 x 65 cm

Private collection, Great Britain

1989

Vanitas

Oil on canvas

146 X 114 cm

Ronald and Vicky Simms, Beverly Hills. CA

I987

Mirror in the Studio

162 x 130 cm

Oil on canvas

Musee Cantini, Marseille

I987

Up to the Loggia

Pastel on heavy grey wove board

65 x 50 cm

Herbert Mines, Hamaroneck, NY

1987

Alba in the Studio

Pastel on grey card

65 x 50. 2 cm

私人收藏Courtesy Marlborough Fine Art, London

1988

View with Refection

146 x 114 cm

Oil on canvas

Private collection

1987

Glass Door and Press

Pastel on hand made paper

50 x 65.7 cm

Private collection

The Square in June

Oil on linen

195 x 130 cm

Hirshhorn Museum and Sculpture Garden

1983

攝影對於繪畫，確切他說是一個消極的作用，一個有害的捷徑，因爲它太容易。儘管德加也同樣利用照片。根據照片畫畫，離主題更遙遠，它沒有生命的痕跡——“氣”，只是一種拷貝，拷貝感光片上的一個圖像，沒有經過手所經歷的一種顫動，攝影不是一種痕跡，而是一種反射。

——阿維格多·阿利卡《素描應該是有生命的》

章曉明譯

Nine Books

37 x 50 cm

Pastel on velvet paper

Private collection

I986

Pile of Books

Pastel on velvet paper

50 x 65 cm

Private collection

1987

The library

34 x 28 cm

Watercolour on wove paper

1975

Summer Day, Indoors

Oil on canvas

146 x 65 cm

Anne and Martin Peretz, Cambridge, MA

1991

The Librar

114.2 x I46 cm

Oil on canvas

Private collection

I982

在這幾千年當中人們不去區分寫生的素描和記憶的素描的差別，埃及人的素描是憑記憶畫的。寫生素描出現得較晚，是隨着個人主義的出現而出現。

——阿維格多·阿利卡《素描應該是有生命的》

章曉明譯

View of Tel Aviv

21.2 x 29.2 cm

Brush and sumi ink on paper

1970

View of Central Park South

Brush and suml Ink on Dutch heavy wovepaper

71.1 × 62.9 cm

Henry Welt, New York

I979

SOHO in Winter

48.5 x 33.5 cm

Softgraphite on grey laid paper

Private collection

I984

Mount Zion at Dusk

25.4 x 35.5 cm

Waatercolour on Fabriano wove papet

Private collection

1987

Cypresses

Watercolour on heavy wove paper

25.4 x 17.7 cm

Private collection

1990

View of the aueustines'garden

Pastel on Whatman paper

51 x 33 cm

Mr and Mrs Eugene Istomin, Washington, DC

1990

如果精力高度集中，觀察足夠細緻，源於觀察的素描就可以把一個被畫者用“一畫”活生生地勾勒出來。石濤曾說：“一畫者，萬象之根”。在如此短的時間（瞬間）和如此有限的方式（描繪）中，仔細觀察已經比有關如何畫的知識更爲重要。事實上存在着一個對如何畫的知識的否定過程，如果沒有這一過程，真正源於觀察的素描或繪畫就不會有立足之地。

爲了畫一張獨特的臉，而不是簡單地畫一張臉、一張普通的臉，畫家在觀察過程中已經超越瞭如何畫鼻子、眼睛或嘴脣的知識。因此，源於觀察的素描這一行爲是個辨證統一的過程，它既要求有很高的技藝，同時又要消解這些技藝。就像石濤宣稱的，“無法而法，乃爲至法”。於是，寫生就是用視覺來發現、並藉助線條和空白來將真實大小轉換成圖畫尺度的過程。

——阿維格多·阿利卡《源於觀察的素描》

葛加峯譯孫周興校

Au loin un oiseau

27 x 24 cm

plates printed on paper

1973

Self-Portrait with Open Mouth

Sugar-lift aquatint

44.5 x 33.3 cm

The Metropolitan Museum of Art

1973

Mirror with Self-Portrait and Press

42.5 x 28.9 cm

The Metropolitan Museum of Art

1971

Samuel Beckett in profile

23.6 x 17.5 cm

on Richard de Bas wove paper

1970

R.B. Kitaj

Colored soft-ground etching

38.1 x 45.1 cm

The Metropolitan Museum of Art

1983

Baby Crying

Brush and sumi ink on coated canvas/ paper

240 × 295 cm

Private collection

1969

Samuel Beckett leaning

Brush and india ink on paper

27.8 × 20.7 cm

Private collection

1967

Before the Bath

Brush and sumi ink on Japan hand made paper

99.5 x 62 cm

The artist collection

1988

H M Queen Elizabeth, the Queen Mother

30.5 x 22 cm

Hard graphite on Whatman paper

1983

View of Central Park South

71.1 × 62.9 cm

Brush and sumi ink on Dutch heavy wovepaper

Henry Welt, New York

I979

Anne in a Ruffled Blouse

Brush and sumi ink on paper

32.4 × 24.9 cm

私人收藏

1969

David Sylvester Seated

Sugar-lift aquatint

39.3 x 30 cm

The Metropolitan Museum of Art

1973

Anne from Back

Brush and sumi ink on Bristol paper

39.7 × 30 cm

Private collection

1972

Samuel Beckett with Cigar

Brush and sumi ink on coated canvas/ paper

35.1 × 27 cm

MNAM, Centre Pompidou, Paris

1970

Anne sitting on a Winter Night

Brush and sumi ink on coated canvas/ paper

35.1 × 27 cm

Private collection

1970

Self-portrait in two Mirrors

Brush and sumi ink on coated canvas/ paper

24.1 × 33.1 cm

Mr and Mrs Eugene Istomin, Washington, DC

1969

Alba and Noga

graphite on Japan laid paper

62 X 99 cm

Private collection

1989

Shoko and Shiji Takashina

Charcoal on tinted wove paper

44.5 × 65.3 cm

Private collection

1988

只要是一張生動的畫，就不是一張堆砌的畫，它是一種自發的營造，就像植物的生長。對我來說，一個有機的生命和繪畫之間是沒有區別的，因爲繪畫應該是有機的，否則，它就是死的。

——阿維格多·阿利卡《素描應該是有生命的》

章曉明譯

Nude on a Sheet

Oil on canvas

146 x 114 cm

Mr and Mrs Warren Adler, Jackson Hole, WY

1988

Nude with Black Scarf

Oil on canvas

I95 x 130 cm

Musee des Beaux.Arts. Dijon

1985

Seated Node with Mirror

Oil on Canvas

81 x 65 cm

Joseph D Hackmey, Tel Aviv

1985

Anne standing in Winter-Coat

64.3 x 49.5 cm

Pastel on tinted wove paper

Veranneman Foundation, Kruishoutem

1988

Marie Catherine

6I x 64.8 cm

Oil on canvas

MNAM, Centre Pompidou, Paris

I982

Anne Hooded

Oil on canvas

27 × 34.8 cm

Private collection

1974

The Letter

Oil on canvas

46 × 38 cm

Private collection

1989

Elizabeth, the Queen Mother

Oil on canvas

49.7 x 50.3 cm

1983

Patricia Wheatley

Oil on canvas

73 x 60 cm

Private collection

1992

Anne in summer, Jerusalem

Oil on canvas

46 x 61 cm

Private collection

1980

Nehama

Oil on canvas

45.8 x 41 cm

Private collection

1988

Anne in Orange and Blue

Oil on canvas

100 x 81 cm

Lerner and Lerner. Madrid

I988

Anne in Red and BlacK

Oil on canvas

100 x 81 cm

Courtesy Marlborough Fine Art, London

1993

Come back from the ophthalmology clinic

146 × 114 cm

oil on canvas

1979

光達美術館

Anne Seated

146 × 114 cm

oil on canvas

1975

Private collection

Portrait of Leon Wieseltier

81 x 100 cm

Oil on canvas

Courtesy Marlborough Fine Art, London

1992

Portrait of Aleco Goulandris

Oil on canvas

81 × 65 cm

Private collection

1989

Alexander Frederick douglas-home,

Lord Home of the Hirsel

91.5 x 71.3 cm

Oil on canvas

1988

Scottish National Portrait Gallery, Edinburgh

Ludovic Kennedy and Moira Shearer

79.5 x 99.5 cm

Oil on canvas

Scottish National Portrait Gallery, Edin burgh

1993

源於觀察的素描和繪畫，當其真正來自於生活時，就能快速而清晰地令人信服。無論是一隻蘋果、一個人物，還是一棵樹，它們都是一個被畫者或一件物品在藝術家手中的真實闡釋。

——阿維格多·阿利卡《源於觀察的素描》

葛加峯譯孫周興校

self-portrait

Oil on canvas

self-portrait

Oil on canvas

self-portrait

Oil on canvas

self-portrait

Oil on canvas

self-portrait, Nude Torso

Pastel on grey coated paper

33.5 x 25 cm

Philip Huber, Washington, Dc

I985

self-portrait with Hand Up

Pastel on tinted wove paper

33 x 50.8cm

The artist collection

1988

self-portrait

Oil on canvas

Nude self-portrait from Back

Oil on canvas

65 x 45.5 cm

Private collection

1986

Glass Door with Self-portrait

65 × 81 cm

Oil on canvas

1987

光達美術館

self-portrait with Hand on Head

Pastel on velvet paper

22.8 x 33.7 cm

Private collection

1986

Nude Self-Portrait

Pastel on wove paper

51 x 31.5 cm

Doron Sebbag, Tel Aviv

1990

Ipsius

Oil on canvas

55 x 46 cm

Courtesy Marlborough Fine Art, London

1993

Pause at the Easel

Temple of Zeus at Oil on canvas

81 x 65 cm

Joseph D Hackmey, Tel Aviv

1990

Painting on a Hot Day

Oil on canvas

73 x 60 cm

Courtesy Marlborough Fine Art, London

1991

Self Portrait in studio

Oil on canvas

2001

Self-Portrait in Raincoat Peering

70.5 x 55.5 cm

pastel on emery paper

Gilbert de Botton, Saint/ Moritz

1988

阿維格多·阿利卡（Avigdor Arikha 1929-2010），以色列藝術家，1929年出生於羅馬尼亞，享年81歲。他是畫家、製圖員和版畫家，後來成爲了以色列最重要的當代藝術家之一。早年以抽象藝術享譽畫壇。1965年，在他取得巨大成功之時卻毅然放棄了這一切，重頭再來。他開始將視線僅僅指向可見世界，畫風走向寫實。並以寫生作爲自己終身奉行的創作準則，由此而真正樹立了其個人的藝術面貌。

本文主要摘引自

《具象表現繪畫文選》