毕加索的卓越成就是许多因素共同作用的结果，包括缴纳会费、生逢其时其地、为先锋派艺术蒙上性感的外衣、巧使政治手段——当然，还有天赋。今天跟大家分享的是：
Picasso: No. 1 with a Palette
毕加索：世界一流画家
By the mid-1920s, Pablo Picasso was one of the most celebrated men in Paris, and he liked people to know it. He rode around town in a chauff原由网eur-driven Panhard. He relishedgreeting important visitors while wearing white silk pajamas, accompanied by a big Pyrenean sheepdog. He loved to throwdinner parties after an opening night at the opera. His wife, the formerballerinaOlga Khokhlova, did the cooking, but the meals were served by a butlerin white gloves. When an art collector named Christian Zervos visited him one day in his Parisstudio, Picasso asked if he’d like to see another couple of rooms. To Zervos’s surprise, the rooms contained not art but a ScroogeMcDuck-likepile of large-denominationFrench bank notes bundledin newspaper. “Everything Picasso did, ” writes John Richardson in A Life of Picasso: The TriumphantYears, 1917–1932, the new, penultimatevolume of his four-part biography, “would be news.”
到 20 世纪 20 年代中期，帕布罗 毕加索就已经是巴黎最著名的人物之一了，而且他也喜欢人们知道这一点。他出门乘坐的是配有私人司机的潘哈德汽车。他喜欢穿着白色丝质睡衣接待重要宾客，身边常常跟着一只比利牛斯牧羊犬。他喜欢在戏院的首场演出结束后举办晚宴。他的妻子——前芭蕾舞女演员奥尔加 科克洛瓦会亲自下厨，但饭菜要由一名戴着白手套的男管家端上餐桌。有一天，一个名叫克里斯蒂安 塞沃斯的艺术收藏家去毕加索在巴黎的工作室看望他，毕加索问他是否愿意参观另外几间房间。结果，令塞沃斯大吃一惊的是，这些房间里放的不是艺术品，而是像守财奴史考治 麦克唐纳一样堆满了用报纸裹起来的大额法郎现钞。约翰 理查森在新出版的全四册人物传记《毕加索的一生：荣耀年代（1917-1932）》倒数第二卷中写道：“毕加索所做的一切都是新闻。”
Picasso stayed news for the rest of the 20th century and into this one, which prompts the question: Why? Why has Picasso—with his endless variations on disjointedand unpretty cubism—become t//www.58yuanyou.comhe quintessentialmodern artist? Why isn’t it Henri Matisse, whose brightly colored fauvistpictures shocked viewers years before cubism came along, and who was still producing remarkable work on his deathbed in 1954? Why not Salvador Dal, with his astonishingly real-looking, groovilyweird surrealistpaintings, and a talent for publicity that makes Paris Hilton seem like a hermit? Picasso’s pre-eminenceis the result of a lot of things, including paying some dues, being in the right place at the right time, making avant-gardeart sexy, finessingpolitics—and, of course, being a genius.
自20世纪前期至本世纪，毕加索一直都是新闻关注的焦点。这就引出了一个问题：为什么？为什么毕加索凭借各种杂乱无序、并不漂亮的立体派作品就能成为现代艺术家的杰出代表？为什么不是亨利 马蒂斯？马蒂斯色彩鲜艳的野兽派作品早在立体派出现前就已艳惊四座，而且他在 1954 年临终前仍在创作优秀的作品。为什么不是萨尔瓦多 达利？他的画作有着看似惊人的真实而又极其古怪的超现实主义风格，他的宣传才能出众，使得闻名全球的帕丽斯 希尔顿显得像个隐士。毕加索的卓越成就是许多因素共同作用的结果，包括缴纳会费、生逢其时其地、为先锋派艺术蒙上性感的外衣、巧使政治手段——当然，还有天赋。
Not that he started out that way. In 1900, at age 19, Picasso did what revolutionary artists were supposed to do for career openers: he went to Paris and almost stzJaVwKsarved. It took him seven years before he’d painted Les Demoiselles d’Avignon, the world’s most influential painting, and (along with his budd原由网y Georges Braque) invented cubism, the style that turned art upside down. Being aSpaniardin Paris—an outsider—helped Picasso immensely. He was able to see through surface appearances in a way the natives could not. As hispatron, Gertrude Stein, put it, in France “the houses move with the landscape, with the river, here they all agree together, it is not at all Spanish.... Spaniards know there is no agreement, neither the landscape with the houses, neither the round with the cube.... It was natural that a Spaniard should express this in the painting of the 20th century, the century where nothing is in agreement.” Like no other artist, Picasso captured the twin impetusesof modern times—fractureand invention.
他最初时并不是这样的。1900 年，19 岁的毕加索也曾做过那些革命艺术家在事业一开始该做的事情：他去了巴黎，差点被饿死。他花了七年时间，终于画成世界上最有影响力的油画《阿维尼翁的少女》，而且（跟他的同伴乔治 布拉克一起）创造了立体派，这一风格使艺术界发生了翻天覆地的变化。作为一个外国人（身处巴黎的西班牙人），这给毕加索提供了极大的帮助。他能够以一种本地人做不到的方式透过事物的表面看到本质。正如他的赞助人格特鲁德 斯坦因所说，在法国“房屋依风景而造，沿河流而建，在这里它们全都融为一体，完全不是西班牙的风格……。西班牙人认为无论是风景和房屋，还是圆与方，都不是和谐的……。自然，一个西班牙人应该在这个万物无一和谐的 20 世纪的画作中表现这一点。”毕加索与其他艺术家不同，他捕捉到了现代社会的一对推动力——破旧与创新。
However interesting his biography, Picasso’s preeminence still derivesmostly fromhis work. The man created fine art’s equivalentof rock and roll and then put in seven decades producing some of modernism’s greatest hits. Picasso wasn’t shy about toutinghis accomplishments, either. Quotation dictionaries are filled with his aphorisms(“Good artists copy, great artists steal”, “Art is a lie that reve原由网als the truth”, etc. ).
无论他的生平如何趣味横生，毕加索的杰出地位主要还是源于他的作品。他创造了美术界的“摇滚乐”，然后花费 70 年的时间画出了一些世界顶尖的现代派作品。他也丝毫不羞于吹嘘自己的成就。他的格言充斥着名人名言字典，比如“好的艺术家临摹，伟大的艺术家剽窃”、“艺术是揭露真相的谎言”等等。
