Audio Tour

博物馆东馆参观指南

通过National Gallery of Art(国家美术馆)策展人的讲解，使用您的智能手机探索各类展品。 您可以按照自己的参观节奏选择讲解顺序，聆听尽可能多的您喜欢的讲解。

要收听有关艺术品的信息，请在导览设备的框中输入展品对应编号，选择开始，并按播放按钮。请您佩戴耳机收听以不影响其他游客。

This tour is also available in English.

19 stops

  • A wood table is piled with stylized and abstracted objects, including a jug, lemons, a knife, guitar, newspaper, and a smoking pipe in this horizontal still life painting. The objects are made up of areas of mostly flat color and many are outlined in black, creating the impression that some shapes are two-dimensional and assembled almost like a collage. We look down onto the top of the table and at the front, where the grain of the wood is painted in tan against a lighter background. Concentric black and white circles make up the knob on the face of the table’s single drawer. There are two rows of objects on the table. Along the front, near the left corner of the table, the knife hangs with its blade slightly over the open drawer. A newspaper with the title “LE JOUR” rests next to the knife. Next to the newspaper are two yellow pieces of fruit, near the front right corner of the table. Behind the fruit, the right third of the pitcher is marine blue and the left two thirds is mostly straw yellow, with one round olive-green area near the handle. Next to the pitcher is a tobacco pipe, and, at the back left edge of the table, the guitar. The instrument rests on its side so the front of the soundboard faces the viewer, and the neck extends to our left. The instrument is bisected lengthwise into two halves that appear to be spliced together, and the edges and features of the halves are not symmetrical or aligned with each other. The bottom half of the guitar is painted a beige color, and is curved like a typical guitar body. The top half is painted black, and the contour of the instrument’s body rises into two pointed peaks instead of mirroring the rounded forms below. The sound hole is markedly smaller on the bottom half, and the two halves of the hole do not exactly line up. A rectangular form behind the table could be a screen. The left side is fern green, the right side black. Behind the screen is a wallpapered wall above wood paneling. The wallpaper is patterned with teardrop shapes, dots, and zigzagging lines in fawn brown against parchment white. The artist signed and dated the painting in the lower right corner, “G Braque 29.”

    Audio Tour Stop 4

    Still Life: Le Jour, Georges Braque

    NGA, East Building, EG-103-B, N

    女子头像莫蒂里安尼乔治·布拉克与毕加索密切合作，于 1910 年左右共同开创了立体主义艺术风格。这幅画作呈现了布拉克晚期创作生涯的典型画风；在这一时期，他将立体主义元素融入到静物和其他创作主题中。在这幅作品中，桌子的木纹、背景壁纸的设计和报纸上的文字，共同彰显了图案和纹理的交织之美。

    Still Life: Le Jour (Chinese)
  • The elongated head and neck of a person with stylized features is carved from beige-colored limestone for this freestanding sculpture. Though mostly carved smooth, the surface of the porous limestone is pocked and textured. In this photograph, the face is angled to our right. Short bangs line the narrow forehead of the tall, oval face. The hair flaring around the crown and behind the tidy, oval ear we see is roughly carved. The marquis-shaped eyes are set high on the face. Eyebrows immediately over the eyes join to make a long, blade-like nose that nearly reaches the bottom of the oval face. The arrow-shape of the nose ends just above a half-moon-shaped lip over a round chin. The long neck continues to a block of limestone that acts as the base. The sculpture is photographed in front of a background that lightens from charcoal gray across the top to nearly white across the bottom.

    Audio Tour Stop 5

    Head of a Woman, Amedeo Modigliani

    NGA, East Building, EG-103-A, E

    这尊雕塑体现了阿美迪欧·莫蒂里安尼独特的人物创作风格；雕塑人物拥有的细长面容和杏仁眼在他的很多画作中都可看到。大约在 1909 年至 1914 年期间，莫蒂里安尼一直专注于雕塑创作。几年后，他因肺结核在 1920 年去世，时年 35 岁。

    Head of a Woman (Chinese)
  • We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting. The street in front of us is alive with action but the overall color palette is subdued with burgundy red, grays, and black, punctuated by bright spots of harvest yellow, shamrock green, apple red, and white. Most of the people wear long dark coats and black hats but a few in particular draw the eye. For instance, in a patch of sunlight in the lower right corner, three women wearing light blue, scarlet-red, or emerald-green dresses stand out from the crowd. The sunlight also highlights a white spot on the ground, probably snow, amid the crowd to our right. Beyond the band of people in the street close to us, more people fill in the space around carriages, wagons, and trolleys, and a large horse-drawn cart piled with large yellow blocks, perhaps hay, at the center of the composition. A little in the distance to our left, a few bare trees stand around a patch of white ground. Beyond that, in the top half of the painting, city buildings are blocked in with rectangles of muted red, gray, and tan. Shorter buildings, about six to ten stories high, cluster in front of the taller buildings that reach off the top edge of the painting. The band of skyscrapers is broken only by a gray patch of sky visible in a gap between the buildings to our right of center, along the top of the canvas. White smoke rises from a few chimneys and billboards and advertisements are painted onto the fronts of some of the buildings. The paint is loosely applied, so many of the people and objects are created with only a few swipes of the brush, which makes many of the details indistinct. The artist signed the work with pine-green paint near the lower left corner: “Geo Bellows.”

    Audio Tour Stop 6

    New York, George Bellows

    NGA, East Building, EG-106-B, W

    纽约班洛斯这幅充满活力的大型画作由乔治·班洛斯于 1911 年 2 月创作完成，表现了新纽约城现代生活的特质。班洛斯刻意地避免表现纽约城中任何一处真实的地方。他选择以几处繁华的商业区为素材，创作出一幅虚构的全景图，以难以想象的拥挤场景，淋漓尽致地表现了纽约城的狂躁氛围。

    New York (Chinese)
  • A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”

    Audio Tour Stop 7

    Ground Swell, Edward Hopper

    NGA, West Building, G-006, N

    涌浪霍普蔚蓝的天空、沐浴在阳光下的船员，加上浪花起伏的海面，让这幅《涌浪》呈现出一种宁静的氛围；不过，画面的细节又会隐约让人感到些许不安。在空旷的海景中心，一个浮标吸引了小船上人们的注意。浮标的作用是在看不见的或紧迫的危险来临之前发出警报，因此它的出现是一个不祥之兆。蓝天中的卷云通常是风暴将至的预兆，让这种不安的印象变得更加强烈。

    Ground Swell (Chinese)
  • A winged person blowing a horn stands silhouetted in lilac purple against a field of alternating celery and muted lime-green bands in this abstracted vertical painting. The person’s body is angled toward us but they look over their shoulder, to our left in profile, as they hold a horn to their lips. The horn reaches into the top left corner of the composition, and the wings extend off the top edge of the canvas. A shallowly curving slit indicates the eye. The person stands with each foot on two rounded forms like stylized hills. The mound on our right is higher so the knee is bent, and the person holds a skeleton key in the hand propped on that knee. The hill to our right has wavy bands of muted pine and sage green, and the hill to our left has a zigzag line of the sage across the darker green. Farther from us, four people, smaller in scale, are outlined as amethyst-purple silhouettes. One person to our right of the angel kneels and raises their hands high overhead, face turned to the sky. Two more people standing on or behind the left mound are framed between the trumpeter’s legs. The fourth person stands with hands clasped, also looking up. Concentric arcs of lemon yellow and pale green suggest a sun in the upper left corner. The artist signed and dated the work with dark green paint in the lower right corner: “A. Douglas ’39.”

    Audio Tour Stop 9

    The Judgment Day, Aaron Douglas

    审判日道格拉斯1927 年，纽约哈林区文艺复兴运动的一位关键人物詹姆斯·韦尔登·约翰逊出版了他的杰作《上帝的长号：黑人布道诗七篇》。每一首布道诗都配有阿隆·道格拉斯绘制的插画。当时的道格拉斯是一位年轻的非洲裔美国艺术家，刚刚在哈林区定居不久。几年后，道格拉斯开始根据他的插画创作大型油画。这幅《审判日》是他创作的八幅系列画作中的最后一幅。画面中央是跨越大陆和海洋站立的大天使加百利。大天使们吹响号角，召来地球上的各国人民，面对终极审判。

    The Judgment Day (Chinese)
  • A group of three men, two children, and one woman gather in an empty, dusky rose-pink landscape under a blue, cloudy sky in this nearly square painting. Most of the people have muted, peachy skin, and the woman and the youngest boy have cream-white skin. The woman sits on the ground to our right, apart from the rest of the men and children. She wears a coral-red skirt, a beige shawl, and straw hat, and she looks into the distance to our right. The others stand in a loose semi-circle on the left half of the composition. A man wearing a multicolored, diamond-patterned costume stands with his back to us to the left. He looks to our right in profile and holds the hand of a little girl who also stands with her back to us. She wears a pink dress and white stockings, and her right hand rests on the tall handle of a white basket. A portly man wearing a scarlet-red jester’s costume and pointed hat stands opposite this pair, facing us to our right. Next to him to our right a young man wears a tan-colored leotard with a black bottom. He holds a barrel over his right shoulder and looks over to our right. The sixth person is the youngest boy, who wears a baggy blue and red outfit, and he looks toward the woman. The eyes of all the figures are deeply shadowed.

    Audio Tour Stop 11

    Family of Saltimbanques, Pablo Picasso

    NGA, East Building, EM-217-C, E

    卖艺人家毕加索这幅《卖艺人家》是毕加索早期创作生涯的最重要作品。对于毕加索来说，这些四处流浪的卖艺人，包括杂技演员、舞蹈演员和小丑，代表了被忽视的、忧郁的底层艺术家群体，就像是一个让他觉得有归属感的大家庭。出生于西班牙的毕加索在来到巴黎后的最初几年中也是一贫如洗，不得不竭尽所能寻求大家的认可，就像画中人的境遇一样。画面的最左侧是一个沉思中的小丑，他身穿菱形图案戏服，从面容上看，俨然就是肤色黝黑、紧张局促的年轻毕加索。

    Family of Saltimbanques (Chinese)
  • A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”

    Audio Tour Stop 13

    Open Window, Collioure, Henri Matisse

    NGA, East Building, EM-217-B, E

    开着的窗户马蒂斯如今看亨利·马蒂斯的这幅《开着的窗户》，可能看到的是温柔和抒情，但是在最初，这幅画因其厚重的笔触和强烈的色彩，被认为充满野性画风。这幅画作规格虽小却极具冲击力，是早期现代主义风格的代表作，被誉为野兽派最重要的作品之一。野兽派艺术家热衷于将色彩和质感从对自然形态的刻板写实中解放出来。这幅画作是马蒂斯野兽派艺术风格的开篇之作。

    Open Window, Collioure (Chinese)
  • Two nude women, painted in vibrant coral peach and bubblegum pink, stand under a red umbrella in a landscape in this stylized, vertical painting. The scene is painted with areas of flat or streaked color with visible brushstrokes throughout. The women and umbrella take up most of the picture. The woman on our left stands facing our right almost in profile. Her skin is vivid peach. Slashes of red outline her breasts, groin, and legs. Her hair, eyes, and eyebrows are painted with black strokes. She stands on one leg and stretches the other in front of her to overlap the far foot of the other woman. The first woman hooks her arm through the elbow of the other, who stands facing us to our right. This second woman has vivid pink skin also outlined in red. Her face is a darker shade of pink, resembling a mask, and her eyes are parallel strokes of black and blue. Her left arm, on our right, hangs by her side, and she holds the umbrella with the other arm. She either wears a hat or her hair is painted with alternating bands of black, red, and brown, and there is a red flower or bow to one side. Black lines in the candy-red umbrella suggest a rib on the underside and the handle. Cobalt-blue branches of a tree above the women has blue and green leaves. The landscape beyond them is made up of bands of acid green, yellow, saturated blue, and cool green.

    Audio Tour Stop 14

    Two Girls under an Umbrella, Ernst Ludwig Kirchner

    NGA, East Building, EM-217-A, S

    恩斯特·路德维希·凯尔希纳创作这幅画作时还在职业生涯的早期阶段，当时他是表现主义团体“桥”画社的创办人之一，该团体于 1905 年在德累斯顿创立。在这幅作品中，凯尔希纳描绘了处于自然环境而不是艺术工作室矫饰空间中的两个裸体女性。这幅画作也是作者运用大胆甚至粗放的形态和鲜亮颜色进行创作的一幅代表作品。

    Two Girls under an Umbrella (Chinese)
  • Black lines and one small, black triangular shape stand out against patches of color, in indigo and sky blue, pumpkin orange, butter yellow, emerald green, and ruby red, against a white background in this vertical, abstract painting. The paint seems thinly applied, resembling watercolor. Near the lower right corner, the black shape is roughly triangular and has five curving, parallel lines emanating from the bottom. Given the title of this painting, Improvisation 31, Sea Battle, the black lines could represent tall masts and outlines of sails amid areas of vibrant color that make up a boat and water around it.

    Audio Tour Stop 15

    Improvisation 31 (Sea Battle), Wassily Kandinsky

    NGA, East Building, EU-415-A, S

    即兴 31，（海战）康定斯基瓦西里·康定斯基的作品在一定程度上反映现实世界，但他在这幅画作中对细节进行了变形和调整处理，以传达一种情绪。尽管乍一看来，这些变形的形状及多彩的颜料涂画是完全抽象的，但它们实际上形成了许多可辨识的形象。这幅《即兴 31（海战）》的中心主题是两艘困在战斗中的帆船，画家以黑色线条呈现出帆船的高大桅杆。康定斯基的创作主题在他的多幅《即兴》作品中得到体现，其灵感很可能来源于圣经《启示录》中的末日景象。

    Improvisation 31 (Sea Battle) (Chinese)
  • Carved from a slab of white marble, the top surface of this sculpture is covered with shallow, cuplike and deep rectangular depressions of various sizes. We look slightly down onto the slab in this photograph. The surface is divided into three vertical sections, which are defined by incised lines. The cuplike depressions are in the sections to the left and right. Two tiny, carved, dark wooden objects, like game pieces, stand upright in a cup with one the left and one to the right. Each piece is flat with a symmetrical design and a point at the bottom that inserts into the cup. The left piece has a disk flanked by triangular protrusions with a clover shape at top. The second piece has four stacked, small circles, and a U-shaped form to suggest the outline of a person with raised arms. Three smaller but deep rectangular cavities are carved into the middle section, and each one has a lid. Two lids sit askew on the top surface of the board near their respective openings, and inside are additional wooden pieces. A blank, rectangular section outlined with lightly inscised lines in the lower right is carved with reversed script letters that read, “on ne joue plus.” The entire surface has beveled edges, so it sits on a stepped base.

    Audio Tour Stop 16

    No More Play, Alberto Giacometti

    NGA, East Building, EU-415-B, CENTER

    阿尔贝托·贾科梅蒂的超现实主义雕塑家当中备受尊重的一位，正如这尊《不再玩游戏》雕塑一样，他经常把游戏主题融入到他早期的作品中。贾科梅蒂在这里塑造的形态类似于棋盘游戏，不过虽然有可移动的棋子，但游戏的性质并不明朗。这尊雕塑中表现的游戏不仅空间迷离，规则也不可知，使游戏更像是梦中的情景。

    No More Play (Chinese)
  • This free-standing sculpture is a French window with a teal-colored frame and black, leather-lined glass panes standing on a flat, shallow base. Each door is made up of four, vertically stacked, equally sized panes. The doors are hinged on a narrow frame and open with small, clear knobs placed next to the second pane down from the top. The doors are slightly ajar. Black writing in capital block letters on the top surface of the base is legible in this photograph. It reads, “FRESH WIDOW COPYRIGHT ROSE SELAVY 1920.”

    Audio Tour Stop 17

    Fresh Widow, Marcel Duchamp

    NGA, East Building, EU-415-B, CENTER

    清新的窗户杜尚马塞尔·杜尚力图挑战传统绘画和雕塑方法的基础理论。受美国便宜而简单的量产复制品理念的启发，他开始搜罗“随手拾来的天然艺术品”作为他的“现成品”展出。“现成品”一词是他在纽约生活时从服装行业借用的术语。他试图在展览中展出这些司空见惯的物品，经常在捡来的物品上签名之后原封不动地展出，这一做法震惊了艺术界。这幅作品的标题是一个双关语，明指巴黎公寓中常见的双层窗户，暗指第一次世界大战中新近丧偶的法国妇女。杜尚并没有亲自动手制作这个迷你窗户，而是外包给了一个美国木匠。

    Fresh Widow (Chinese)
  • The top section of this abstract sculpture is made up of a vertical, elongated form cast in gleaming brass that swells gently at the center and tapers to a point at either end. Near the bottom point, the form flares out slightly to make a tall, conical foot. This sits atop a short, cylindrical, white limestone base on a wood pedestal. The pedestal is carved to look like a disc at the center flanked above and below by semicircles with the flat edges facing up and down. The sculpture is photographed against a pale gray background.

    Audio Tour Stop 18

    Bird in Space, Constantin Brâncuși

    NGA, East Building, EU-415-C, CENTER

    空间中的鸟布朗库西尽管这尊雕塑看似属于抽象风格，但康斯坦丁·布朗库西坚持认为他的作品揭示了主题内涵。他的作品吸收了传统的非洲雕塑和罗马尼亚民间雕刻技艺；他还将基座变成艺术创作中不可分割的部分。《空间中的鸟》系列雕塑花费了布朗库西多年心血，他期待这件作品能够成为自己最杰出的系列作品。与其他雕塑家不同，布朗库西没有大型工作室，而是使用材料独自进行创作，在这部作品中使用的是石雕和抛光的黄铜。

    Bird in Space (Chinese)
  • This abstract, geometric painting has been tipped on one corner to create a diamond form rather than a square. The surface of the canvas is crisscrossed by an irregular grid of black lines running vertically and horizontally like offset ladders. The black lines create squares and rectangles of different sizes, and the width of the lines vary slightly. One complete square sits at the center of the composition and is painted white. Other rectangles are incomplete, their corners sliced by the edge of the canvas, and each is a different shade of white with hints of pale blue and gray. The black grid creates triangular forms where it meets the angled edge of the canvas in some places, and some of these are filled with flat areas of color. A tomato-red triangle is placed to the left of the top center point, and a vibrant yellow triangle is to the left of the lower center point. A black triangle is next to it at the bottom center, and a cobalt-blue triangle is situated just below the right point. The painting is signed with the artist’s initials at the lower center: “PM.”

    Audio Tour Stop 19

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, Piet Mondrian

    NGA, East Building, EU-415-C, W

    菱形构成第四号：红，灰，蓝，黄和黑色蒙德里安皮特·蒙德里安抱持着宇宙的和谐存在于在大自然中的精神理念，他从事抽象画作立意在于表达出这个理念。在他的构图作品中，水平和垂直部分经过精心校准，以产生一种平衡的不对称效果，代表了在自然界中，对立力量和动态平衡经常并列存在的现象。蒙德里安说，菱形构图是一种切割的艺术，在这幅画作中，切割的感觉非常明显。画面中的形状并不完整，而且被画布边缘切割，暗示着画面一直延伸到画布的物理边界之外。

    Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black (Chinese)
  • Tall, narrow, black building fronts fill this abstracted, horizontal painting. Partitions separating the buildings extend above the rooflines, and those, along with low domes atop some of the buildings, brush the top edge of the canvas. The narrow band of sky between the flat rooflines and the top of the composition is filled with cream-white paint, applied heavily in thick strokes. The buildings are painted with wide, horizontal strokes of black paint. The outlines of doors, windows, and the brick partitions between the buildings were incised into wet paint to delineate those features. Some of the outlines are also streaked with cobalt blue, butter yellow, brick red, and plum purple. Six people with oversized, round, peach-colored heads on spindly black bodies look out at us from windows across the composition. Cartoon-like eyes, noses, and smiling mouths are incised into wet paint. Along the bottom level, the buildings are numbered 78, 80, 82, and 84. Signs, also incised in wet, black paint to reveal white outlines, appear over the doors. The leftmost building reads “OPTICIEN” above “Leroy.” The next store is “PARFUMS,” then “MODES,” “Coiffeur,” “JOURNEAX,” “PRIMEURS,” and “BAR.” Under “PRIMEURS,” a sign on the store front reads “FRUITS ET LEGUMES.” Two people walk along the street, at the bottom of the canvas. One is to our left of center and stands facing us, smiling. The other is to our right, also smiling as he walks to our left in profile.

    Audio Tour Stop 20

    Façades d'immeubles (Building Façades), Jean Dubuffet

    NGA, East Building, EU-407-A, N

    幕墙杜布菲让·杜布菲认为在第二次世界大战后，绘画艺术必须从零开始，于是他开始从没有受过训练的艺术家的作品中寻求灵感，尤其是儿童和自学成才的艺术家。他将这些作品收集起来，称之为“原生艺术”。在这幅《幕墙》中，杜布菲展示了他的“原生艺术”风格。他使用孩子在教室里的画画的方法，也就是在事先涂上彩色的纸上涂一层黑漆，然后用刮去黑漆的方式，勾勒出孩子眼中的巴黎街头景象。不过，精心布置的网格和壮观的整面墙绘，彰显了杜布菲的现代主义风格理念。

    Façades d'immeubles (Building Façades) (Chinese)
  • Densely spaced lines and splatters in black, white, pale salmon pink, teal, and steel gray crisscross a rectangular cream-colored canvas in this abstract horizontal painting. The lines move in every direction. Most are straight but some curve slightly. The density eases a bit near the edges. Two sets of ghostly white handprints are visible at the upper corners. The artist signed and dated the painting in black paint in the lower left corner: “Jackson Pollock ’50.”

    Audio Tour Stop 22

    Number 1, 1950 (Lavender Mist), Jackson Pollock

    NGA, East Building, EU-407-B, W

    1950 年 11 月 1 日（薰衣草之雾）波洛克当杰克逊·波洛克这幅壁画大小的滴画在 1948 年首次展出时，受到了褒贬不一的评价。在创作这幅作品时，他在由谷仓改造的工作室地板上铺开一张大画布，几乎覆盖了整个空间。他将画笔或棍子蘸满颜料，包括油漆、油彩、瓷釉和铝颜料，然后一边走，一边把颜料滴到、甩到或倾倒在画布上。他说这就是他的创作手法：在创作过程中，画家本人也是媒材的一部分。他在画布左上角和顶部用掌印对画作进行了“签名”。

    Number 1, 1950 (Lavender Mist) (Chinese)
  • The Disney cartoon characters, Donald Duck and Mickey Mouse, fish off a dock in this horizontal painting. The scene and characters are painted entirely flat areas of canary yellow, cobalt blue, tomato red, and white. To our left, Donald leans over the edge of the dock with his feet spread and duckbill hanging open. He has a white body outlined in blue, big eyes filled with a pattern of tiny blue dots, and yellow feet and duckbill. He wears a blue sailor’s hat and jacket with a red bow tie and yellow circles indicating buttons. He holds a fishing pole with an oval, red bobber near the fishhook high over his head. The pole has bent back with the fishhook snagged on the back hem of Donald’s jacket. A white speech bubble over Donald’s head is outlined in blue, and blue text inside reads, “LOOK MICKEY, I’VE HOOKED A BIG ONE!!” Mickey stands to our right, covering his smiling mouth with his left hand, on our right, and holding an upright fishing pole with the other hand. His round face is filled with a pattern of tiny red dots, and his curving hairline and ears are blue. He wears blue pants, a red shirt and shoes, and white gloves. The dock is mostly yellow with a white area on the right. Its planks and three white, round posts supporting it are outlined in blue. Rippling water surrounding the dock is defined by wavy lines and undulating bands of blue against a yellow background. The artist signed his initials in the lower left, “rfl.”

    Audio Tour Stop 25

    Look Mickey, Roy Lichtenstein

    快看米老鼠利希滕斯坦这幅《快看米老鼠》可能是罗伊·利希滕斯坦首次针对流行文化进行改编创作，他取材的灵感来自于 1960 年的儿童读物《唐老鸭：失而复得》中的场景和风格。利希滕斯坦巧妙地修改了原作，使其画风更加统一，包括省略了背景图、把视角旋转 90 度、使用黄色和蓝色为主色调，并简化了角色的形貌。在风格上，利希滕斯坦模仿了印刷制品的风格，包括使用厚重的黑色轮廓和原色，并在唐老鸭的眼睛和米老鼠的面部上，使用了本戴制版印刷工艺的墨点；这种工艺在当时用于印刷便宜的漫画书和杂志。

    Look Mickey (Chinese)
  • A long, rectangular strip of yellowed painted fabric is draped over a horizontal wooden rod that hangs from the ceiling in this sculptural piece. The dowel is perpendicular to the wall so juts into the gallery space. In this photograph, we are almost in front of the piece, near the wall to look onto one of the long sides. The cheesecloth hangs straight down either side of the dowel so it is longer in the back, and the ends do not touch. An uneven application of latex paint on most of the fabric gives the work a rubbery appearance, and causes some variation in the surface to create shiny areas. The loose weave of the cheesecloth is visible at the ends where the fabric was not painted. The cloth and dowel seem to float in midair because the filament from which the rod hangs is invisible in this photograph.

    Audio Tour Stop 27

    Test Piece for "Contingent", Eva Hesse

    “不确定性”习作海丝伊娃·海丝不想创作一件传统意义上的漂亮雕塑。她拒绝使用传统的雕塑原材，例如金属或石头，而是喜欢用更加柔性的材料，如纤维、石膏或乳胶等。在这件习作中使用的是乳胶。这件作品是《不确定性》最终成品的几件习作之一。成品由八个相似的旗帜组成，现悬挂在澳大利亚国家美术馆中。海丝形容它“既不是画，也不是雕塑。它实际上是一幅挂画。”
     

    Test Piece for "Contingent" (Chinese)
  • Two black bands span the height of this vertical canvas against a field of white mottled with shades of ivory, bone, and parchment in this abstract painting. A narrow, solid black stripe lines the left edge of the canvas, like the spine of a book. About a quarter of the way in from the right edge, black paint swirls and wafts like smoke on either side of a narrow white stripe the same color as the background. The artist signed and dated the painting in black paint in the lower right corner of the canvas: “Barnett Newman 1958.”

    Audio Tour Stop 29

    First Station, Barnett Newman

    NGA, East Building, ET-615-B, W

    第一站纽曼巴尼特·纽曼是抽象表现主义运动的代表人物之一，他通过绘画、雕塑和写作来表达自己的想法。在 20 世纪 40年代中期，纽曼使用其标志性的垂直光带（又称“zip”），对画布上的单色调底色进行点缀。这幅画作是纽曼命名为《苦路十四站》的系列作品的第一幅。该系列共有 14 幅，之后又加上了第 15 幅画作“Be II”作为结尾。《苦路十四站》是纽曼为了应对二战及大屠杀后艺术家面临的他所称的“道德危机”而做出的最积极的尝试：“我们到底要画什么？”

    First Station (Chinese)

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