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》
作者:許江 焦小健
出版社: 中國美術學院出版社
ISBN:9787810831222
出版時間:2002-09-01
裝幀:平裝
開本:16開
頁數:360
定價:68.00元
·
微信設計:韓博
編輯:昌旭正
·