定义不可捉摸的形式：乔治亚·奥基夫的抽象蓝
正文翻译
Abstraction Blue (or White Line—Blue Abstraction, as the artist wrote on the back of the painting) [right] was one of only three canvases in the exhibition with nonreferential titles.2 In a cool palette ranging from icy gray to sea green, lilac to navy, Abstraction Blue presents a central bulblike form surrounded by a series of nested folds. Each layer is modulated through the smooth application of oil to achieve a distinct volume, with deep hues feathered into lighter ones to lend rounded depth to each curve. Meanwhile, a tapered white wedge slices vertically through this organic cluster, bisecting the composition and introducing a visual stutter where forms would otherwise align. The gray half-oval on the right of the divide, for example, dips lower than its aqua counterpart on the left, just enough to meet, instead, the blue-black form swooping toward it.
抽象蓝（或称白——蓝抽象线条，正如艺术家在画的背面所写）[右]是展览中仅有的三幅带有非参考标题的画布之一。2 在从冰灰色到海绿色，从淡紫色到海军蓝的清爽调色板中，《抽象蓝》呈现出周围环绕一系列嵌套的褶皱的球根茎类中心。每层都运用了平滑的颜料涂抹，达到一种独特的体量，将深色调羽化成较浅的色调，给每条曲线增添了回转。与此同时，一个锥形的白色楔形垂直切过这个有机簇，将构图一分为二，并在本应对齐的地方引入视觉卡顿。例如，分界线右侧的灰色半椭圆形略低于左侧对应的浅绿色半椭圆形，刚好与向俯冲下来的蓝黑色形状交汇。
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
Of the other paintings that were included in the exhibition, 35 have titles that identify their subjects, such as Radiator Building—Night, New York [left] and Black Iris. The titles of the three remaining works that were featured, including Abstraction White Rose, temper their descxtive designation with the word “abstraction,” as if to suggest that the work at once depicts the thing named and transcends that classification toward some larger compositional end. But, lacking any mention of a subject that might lix it to the observed world, Abstraction Blue—along with Abstraction White and Black Abstraction, both of which were captured in an installation shot of the show—suggests a more complete submission to pure form.
在展览中的其余画作中，有35幅画的标题表明了它们的主题，例如“暖炉大楼——夜晚，纽约“[左]和“黑色鸢尾”。其余三幅作品的标题，包括“抽象白玫瑰“，用“抽象”一词中和了它们的描述性定义，似乎暗示该作品描绘了被命名的事物，并超越了这种分类，到达了一种更大的构图目的。但是，不提及物体也许能将其与观察世界联结起来，与“抽象蓝”一样的“抽象白”和“抽象黑”，二者都在展览的装置镜头中被捕捉到——暗示了对纯粹形式更完整的屈服。
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
乔治亚·奥基夫。散热器大楼——纽约之夜。1927年 In this way, Abstraction Blue poses a question: Does the painting, as its botanical likeness and proximity to contemporaneous canvases suggests, depict a flower? Or, as its title implies, is it a purely abstract arrangement? For O’Keeffe, the difference between the two was not as clear-cut as it proved to be for many of her critics and audiences. “It is surprising to me how many people separate the obxtive from the abstract,” she later reflected, declaring,
通过这种方式，“抽象蓝”提出了一个问题：这幅画，是否因其与植物的近似，与同时期的画布上所表现的那样，描绘了一朵花？或者，正如标题所隐含的那样，它纯粹是一种抽象的编排？对于奥基夫来说，这两者之间的差异并不如关于她的许多评论家和观众所宣称的那样明缺。“令我惊讶的是，有那么多人把物象从抽象中抽离出来，”后来她反思道，并声明：
Over the course of a career that spanned the better part of the 20th century, Georgia O’Keeffe forged a distinctive visual language that managed to be both acutely observational and radically abstract. By 1927, the year O’Keeffe turned 40 and painted Abstraction Blue, she had already become one of the most prominent American artists of her day—a position all the more noteworthy for a woman artist at a time when women in the United States had only recently been given the right to vote. Abstraction Blue made its public debut the following year in an exhibition of O’Keeffe’s work at the Intimate Gallery—a small space, as the name implied, in a building on the corner of Park Avenue and 59th Street in New York. Testifying to the exceptional attention O’Keeffe commanded, a review in Time magazine focused as much on the particulars of the artist—her outfit, her expression, her command of the space—as on the details of the 41 paintings that were presented:
在跨越20世纪大部分时间的职业生涯中，乔治亚·奥基夫（Georgia O'Keeffe）确立了一种具有精准观察力与极其抽象性的独特视觉语言。到了1927年，也就是奥基夫40岁那年，她画了《抽象蓝》，已经成为当时最杰出的美国艺术家之一——对于一个女性艺术家来说，这个地位在当时更值得称颂，因为美国女性不久前才被赋予投票权。 第二年，《抽象蓝》在亲密画廊（Intimate Gallery）的奥基夫作品展览中首次公开亮相——顾名思义，这是一个小空间，位于纽约公园大道和第59街拐角处的一栋建筑中。为了证明奥基夫所获得的非同寻常的关注，《时代》杂志的一篇评论同样关注了艺术家的细节——她的服装、表情、对空间的掌控——以及展出的 41 幅画作的细节：
在跨越20世纪大部分时间的职业生涯中，乔治亚·奥基夫（Georgia O'Keeffe）确立了一种具有精准观察力与极其抽象性的独特视觉语言。到了1927年，也就是奥基夫40岁那年，她画了《抽象蓝》，已经成为当时最杰出的美国艺术家之一——对于一个女性艺术家来说，这个地位在当时更值得称颂，因为美国女性不久前才被赋予投票权。 第二年，《抽象蓝》在亲密画廊（Intimate Gallery）的奥基夫作品展览中首次公开亮相——顾名思义，这是一个小空间，位于纽约公园大道和第59街拐角处的一栋建筑中。为了证明奥基夫所获得的非同寻常的关注，《时代》杂志的一篇评论同样关注了艺术家的细节——她的服装、表情、对空间的掌控——以及展出的 41 幅画作的细节：
There were some paintings hung on the walls of a tiny room...other paintings, smaller ones, rested on cabinets or stood along the floor. The room was full of people, talking to each other in awed, foolish whispers. In the corner of the room sat a lady dressed in a black cloth coat, smiling like a severe Mona Lisa. She was Georgia O’Keeffe; the paintings on the wall belonged to her because she had made them; for some reason, the room seemed hers as well.1
一个小房间的墙上挂着一些画......其他画作，更小的画作则摆在橱上或放在地上。房间里挤满了人，互相敬畏又愚蠢的轻声交谈。房间的角落坐着一位身穿黑色布大衣的女士，宛如一个严肃的蒙娜丽莎微笑着。她就是乔治亚·奥基夫。墙上的画作属于她，因为她创造了它们。不知为何，这个房间似乎也是她的作品。1
一个小房间的墙上挂着一些画......其他画作，更小的画作则摆在橱上或放在地上。房间里挤满了人，互相敬畏又愚蠢的轻声交谈。房间的角落坐着一位身穿黑色布大衣的女士，宛如一个严肃的蒙娜丽莎微笑着。她就是乔治亚·奥基夫。墙上的画作属于她，因为她创造了它们。不知为何，这个房间似乎也是她的作品。1
Abstraction Blue (or White Line—Blue Abstraction, as the artist wrote on the back of the painting) [right] was one of only three canvases in the exhibition with nonreferential titles.2 In a cool palette ranging from icy gray to sea green, lilac to navy, Abstraction Blue presents a central bulblike form surrounded by a series of nested folds. Each layer is modulated through the smooth application of oil to achieve a distinct volume, with deep hues feathered into lighter ones to lend rounded depth to each curve. Meanwhile, a tapered white wedge slices vertically through this organic cluster, bisecting the composition and introducing a visual stutter where forms would otherwise align. The gray half-oval on the right of the divide, for example, dips lower than its aqua counterpart on the left, just enough to meet, instead, the blue-black form swooping toward it.
抽象蓝（或称白——蓝抽象线条，正如艺术家在画的背面所写）[右]是展览中仅有的三幅带有非参考标题的画布之一。2 在从冰灰色到海绿色，从淡紫色到海军蓝的清爽调色板中，《抽象蓝》呈现出周围环绕一系列嵌套的褶皱的球根茎类中心。每层都运用了平滑的颜料涂抹，达到一种独特的体量，将深色调羽化成较浅的色调，给每条曲线增添了回转。与此同时，一个锥形的白色楔形垂直切过这个有机簇，将构图一分为二，并在本应对齐的地方引入视觉卡顿。例如，分界线右侧的灰色半椭圆形略低于左侧对应的浅绿色半椭圆形，刚好与向俯冲下来的蓝黑色形状交汇。
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
Of the other paintings that were included in the exhibition, 35 have titles that identify their subjects, such as Radiator Building—Night, New York [left] and Black Iris. The titles of the three remaining works that were featured, including Abstraction White Rose, temper their descxtive designation with the word “abstraction,” as if to suggest that the work at once depicts the thing named and transcends that classification toward some larger compositional end. But, lacking any mention of a subject that might lix it to the observed world, Abstraction Blue—along with Abstraction White and Black Abstraction, both of which were captured in an installation shot of the show—suggests a more complete submission to pure form.
在展览中的其余画作中，有35幅画的标题表明了它们的主题，例如“暖炉大楼——夜晚，纽约“[左]和“黑色鸢尾”。其余三幅作品的标题，包括“抽象白玫瑰“，用“抽象”一词中和了它们的描述性定义，似乎暗示该作品描绘了被命名的事物，并超越了这种分类，到达了一种更大的构图目的。但是，不提及物体也许能将其与观察世界联结起来，与“抽象蓝”一样的“抽象白”和“抽象黑”，二者都在展览的装置镜头中被捕捉到——暗示了对纯粹形式更完整的屈服。
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
乔治亚·奥基夫。散热器大楼——纽约之夜。1927年 In this way, Abstraction Blue poses a question: Does the painting, as its botanical likeness and proximity to contemporaneous canvases suggests, depict a flower? Or, as its title implies, is it a purely abstract arrangement? For O’Keeffe, the difference between the two was not as clear-cut as it proved to be for many of her critics and audiences. “It is surprising to me how many people separate the obxtive from the abstract,” she later reflected, declaring,
通过这种方式，“抽象蓝”提出了一个问题：这幅画，是否因其与植物的近似，与同时期的画布上所表现的那样，描绘了一朵花？或者，正如标题所隐含的那样，它纯粹是一种抽象的编排？对于奥基夫来说，这两者之间的差异并不如关于她的许多评论家和观众所宣称的那样明缺。“令我惊讶的是，有那么多人把物象从抽象中抽离出来，”后来她反思道，并声明：
obxtive painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colors put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.3
如果物象绘画在抽象意义上是好的，那才是好画。一座山或一棵树之所以成为一幅好画，不仅仅因为它是一座山或一棵树。它是线条和颜色的组合，能诉说一些含义。对我来说，这才是绘画的基础。抽象往往是我自己只能在绘画中澄清的无形事物的最确定的形式。 3
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
如果物象绘画在抽象意义上是好的，那才是好画。一座山或一棵树之所以成为一幅好画，不仅仅因为它是一座山或一棵树。它是线条和颜色的组合，能诉说一些含义。对我来说，这才是绘画的基础。抽象往往是我自己只能在绘画中澄清的无形事物的最确定的形式。 3
原创翻译：龙腾网 https://www.ltaaa.cn 转载请注明出处
The artist’s work, however, was not always interpreted with such nuance—partly because of O’Keeffe’s position as a woman artist in the first decades of the 20th century, and especially at this juncture in her career. Her choice to offer “lines and colors” or something closer to “a hill or tree” had outsize consequences for the reception of her work, and she became aware enough of them to negotiate her approach accordingly, even as she managed to prioritize her ultimate goal of finding “definite form” for “intangible things.”
然而，这位艺术家的作品阐释并不总是如此细微——部分原因是奥基夫在20世纪前十年中作为女性艺术家的地位，尤其在她职业生涯的节骨眼上。她选择呈现“线条与颜色”或某种更接近“山或树”的物体，对其作品反响产生了巨大的影响力，她逐渐意识到如何相应地协调她的意图，正如优先考虑她的终极目标的，即为“无形事物”找寻“确定的形式”。
注释：
然而，这位艺术家的作品阐释并不总是如此细微——部分原因是奥基夫在20世纪前十年中作为女性艺术家的地位，尤其在她职业生涯的节骨眼上。她选择呈现“线条与颜色”或某种更接近“山或树”的物体，对其作品反响产生了巨大的影响力，她逐渐意识到如何相应地协调她的意图，正如优先考虑她的终极目标的，即为“无形事物”找寻“确定的形式”。
注释：
1.“Art: On View,” Time, February 20, 1928, 21–22; reprinted in Barbara Buhler Lynes, O’Keeffe, Stieglitz, and the Critics, 1916–1929 (Ann Arbor, MI: UMI Research Press, 1989),
1.“艺术：展映”，《时代》，1928年2月20日，第21-22页;转载于Barbara Buhler Lynes， O'Keeffe， Stieglitz， and the Critics， 1916–1929 （Ann Arbor， MI： UMI Research Press， 1989），
1.“艺术：展映”，《时代》，1928年2月20日，第21-22页;转载于Barbara Buhler Lynes， O'Keeffe， Stieglitz， and the Critics， 1916–1929 （Ann Arbor， MI： UMI Research Press， 1989），
2. This inscxtion is indicated in the Abiquiu Notebooks, a personal inventory of O’Keeffe’s work the artist compiled with the help of Doris Bry. Per Lynes, Georgia O’Keeffe: Catalogue Raisonné (New Haven, CT: Yale University Press; Washington, DC: National Gallery of Art; Abiquiu, NM: The Georgia O’Keeffe Foundation, 1999), 1:329.
2. 这个铭文在Abiquiu Notebooks中有所体现，是艺术家在Doris Bry的帮助下编制的奥基弗作品的个人清单。Per Lynes， Georgia O'Keeffe： Catalog Raisonné （New Haven， CT： Yale University Press;华盛顿特区：国家美术馆;新墨西哥州阿比基乌：乔治亚·奥基夫基金会，1999年），1：329。
2. 这个铭文在Abiquiu Notebooks中有所体现，是艺术家在Doris Bry的帮助下编制的奥基弗作品的个人清单。Per Lynes， Georgia O'Keeffe： Catalog Raisonné （New Haven， CT： Yale University Press;华盛顿特区：国家美术馆;新墨西哥州阿比基乌：乔治亚·奥基夫基金会，1999年），1：329。
3. O’Keeffe, Georgia O’Keeffe (New York: Viking Press, 1976), n.p.
奥基弗，乔治亚·奥基弗（New York： Viking Press， 1976）， n.p.
奥基弗，乔治亚·奥基弗（New York： Viking Press， 1976）， n.p.
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