英國(guó)畫(huà)家勞里的工業(yè)英國(guó)畫(huà)作(多圖)

British artist LS Lowry's paintings of industrial,working-class Britain brought him popular fame inthe UK. Yet his works have never been the subject ofa solo exhibition abroad - until now.

英國(guó)畫(huà)家LS 勞里的畫(huà)作描述了工業(yè)時(shí)代下的、工人階級(jí)的英國(guó)，因此在英國(guó)名聲大噪。然而，他的畫(huà)作從來(lái)沒(méi)有單獨(dú)在國(guó)外展覽，但如今不是了。

LS Lowry, with his depictions of everyday northernlife, is one of Britain's best loved painters. Popular hemay be, but since his death in 1976, there have beenaccusations that the British art establishment hasturned its back on him, finding his subject matter too working class.

LS 勞里的畫(huà)作描述了北方民眾的日常生活，他因此成為英國(guó)最受追捧的畫(huà)家之一。盡管他為人喜愛(ài)，但在1976年去世后，就有傳言稱(chēng)英國(guó)畫(huà)界把他拋在腦后，稱(chēng)他的作品的“工人階級(jí)”味道過(guò)了頭。

 

 

There's been public pressure for major galleries to do more to celebrate him and last year theTate Britain put on a Lowry show. But remarkably, for such an icon of modern British art, nosolo exhibition of his work has ever been held outside the UK. Until now. A collection ofLowry paintings is being shown at an exhibition in Nanjing in eastern China.

大型美術(shù)館若想慶祝他的作品，是要頂著公眾的壓力的，泰特博物館去年辦了一場(chǎng)勞里的美術(shù)展。但值得注意的是，即使對(duì)于這樣一個(gè)現(xiàn)代英國(guó)藝術(shù)的標(biāo)志性人物，他的個(gè)人展出也僅限于英國(guó)國(guó)內(nèi)。但如今不是了。在中國(guó)東部的城市南京，勞里的組畫(huà)正在展覽進(jìn)行時(shí)。

Lowry's canvases depict a side of British life that's now gone. The one above, Mill Scene, from1965, is reminiscent of many of his paintings, with its smoke stacks and hurrying crowds ofworkers.

勞里的畫(huà)作里所描述的那些英國(guó)人的生活景象已經(jīng)遠(yuǎn)去。上邊的一張圖是米爾辛1965年的作品，讓人想起了他許多的舊作，里邊畫(huà)著林立的煙囪和疾行的工人們。

Lowry's subject matter may now be Britain's past but it is, of course, very much a part ofChina's present day. This is a photograph of one of Beijing's train stations ahead of ChineseNew Year when millions of migrant workers flock away from their factory production lines andhead home.

如今看來(lái)，勞里的主題描述的是英國(guó)的過(guò)去，然而，當(dāng)然了，很大程度上是中國(guó)的現(xiàn)在。這張圖展示的是北京站以及成百萬(wàn)的外來(lái)務(wù)工人員在農(nóng)歷春節(jié)返鄉(xiāng)的景象，他們從工廠的生產(chǎn)線里解放了，返鄉(xiāng)了。

The exhibition came about following the chance meeting of Xiao Lang, a Chinese artconsultant, and Andrew Kalman.

中國(guó)美術(shù)顧問(wèn)的小浪和安德魯卡曼偶遇使得畫(huà)展得以成行。

 

 

Kalman's father, Andras, was a private gallery owner in Manchester and a close personal friendof Lowry. He agitated for British art institutions to promote Lowry's work overseas, but nosolo exhibition was ever held outside the UK in either his or the painter's lifetime.

卡曼的父親安德拉斯是曼徹斯特的一家私人美術(shù)館館主，和勞里的私交甚好。他呼吁英國(guó)美術(shù)界向海外推廣勞里的畫(huà)作，但是在安德拉斯或是勞里的有生之年，勞里的個(gè)人畫(huà)作始終未在英國(guó)以外的地方展出。

The curators hope Lowry's paintings will resonate with Chinese audiences because they will seeechoes of their own economic development and the problems it causes.

美術(shù)館長(zhǎng)們希望勞里的畫(huà)作可以讓中國(guó)的觀賞者產(chǎn)生共鳴，因?yàn)樗麄兛梢栽谶@些畫(huà)里看到自家的經(jīng)濟(jì)發(fā)展及其帶來(lái)的問(wèn)題。

 

 

Detail from Bargoed, 1964

巴格德港口寫(xiě)實(shí)，1964年作

 

 

Xiao Lang points to notorious pea-souper smogs of Lowry's day and the swathes of grey andwhite in Lowry's paintings.

小浪提到了勞里時(shí)代的惡名遠(yuǎn)播的滾滾黃霧，還有勞里畫(huà)作里一條條灰和白的色帶。

"First of all the white sky," she says. "We have air pollution issues in China so the sky colourwill definitely resonate with Chinese audiences."

小浪說(shuō)：“首先是灰蒙蒙的天，因?yàn)樵谥袊?guó)我們有空氣污染的問(wèn)題，所以天空的顏色絕對(duì)會(huì)讓中國(guó)的觀眾產(chǎn)生共鳴。”

 

 

Detail from Salford Street Scene, 1959

索爾福德市街景寫(xiě)實(shí)，1959

 

 

Lowry was not a political painter and this is not socialist art. He was, after all, for most of hisworking life, a rent collector.

勞里不是一個(gè)有政治傾向的畫(huà)家，這些畫(huà)作也與社會(huì)主義無(wú)關(guān)。畢竟，他的一生中，大多出時(shí)間都用來(lái)收房租。

But there is great affection for his subject matter and his very painting of it suggests a deeprespect for the working communities that he was surrounded by.

然而，他的題材仍受到廣泛的喜愛(ài)，他的最好的畫(huà)作傳達(dá)出對(duì)身邊的工人群體的濃濃的敬意。

 

 

Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, weredoing hard work for little pay.

勞里畫(huà)筆下的人們就像是許多如今的中國(guó)外來(lái)務(wù)工者，做著苦工，掙著小錢(qián)。

 

 

Detail from Salford Street Scene, 1959

索爾福德街景寫(xiě)實(shí)，1959

 

 

Detail from Rising Street, undated

萊辛大街寫(xiě)實(shí)，日期不詳

 

 

Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition- Rising Street. She likes the dogs. "It's nice that he painted working people," she tells me. "Doyou feel a connection?" I ask. "Everywhere, we're all the same," she says.

蔡素云，南京的一名道路清潔工，站在他最喜歡的展畫(huà)——萊辛大街前。她喜歡狗，“他畫(huà)了工作的人們，畫(huà)的真好。”她對(duì)我說(shuō)。“你感覺(jué)到自己和畫(huà)的關(guān)聯(lián)嗎?”我問(wèn)，“關(guān)聯(lián)到處都在，我們簡(jiǎn)直是一模一樣。”她說(shuō)。

Some see in Lowry's decades of work, not a depiction of industrial strength, but a bleakportrayal of long industrial decline. Alongside the parallels with the present, Chinese audiencesmay well find hints and warnings about the future.

勞里的幾十年間的畫(huà)作，在一些人看來(lái)，描述的并不是工業(yè)盛世，而是黯淡而長(zhǎng)期的工業(yè)蕭條。今日與昨日相比，中國(guó)的觀眾也許很容易找到未來(lái)的跡象和啟示。

 

 

Wasteground, 1940

荒地，1940

The exhibition at Nanjing University of the Arts runs until the 16 December 2014.

南京大學(xué)的這次畫(huà)展的展出截止日期到2014年12月16日。