《关于绘画的一些想法（Some Thoughts on Painting）》是卢西安·弗洛伊德（Lucian Freud）公开发表的，有关于绘画之唯一文字性的东西。弗洛伊德是我所景仰的画家，其绘画风格由早期的具象、间接、薄涂，转变为中后期的具象、直接、厚涂，发生了令人不可思议的变化，与古典主义画法做了完全的告别。
卢西安·弗洛伊德在国内拥趸无数，刘小东也深受其影响，他曾经在纽约看了卢西安·弗洛伊德的原作后感到受挫，忧愁地喝起闷酒来，但而后便开拓出了属于自我的一条更广阔的道路。
我曾经说过，很多中国人独独有一点不是太好，那就是不愿意去钻研，不愿意去研究历史。这话或许说得有些决绝，但这篇“Some Thoughuts on Painting”，发表已经逾六十五年，却仍然没有中文译介面世，是令人感到吃惊的事情。
本来，对于卢西安·弗洛伊德这样的人，生活中是倔强又不羁，要了解他关于绘画的思考，已经是非常难的事情了。更不用说他数年如一日的画室生活，与外界的接触也非常少，其好赌与好色的性格也无法推导出有关于其绘画的什么东西。
所以，既然有这么直接的由画家本人叙说的文字，简直就是珍宝，但为何无人看见？
就这样，六十五年过去了，那么宝贵的一篇文字，想来国内知道它的人，也是寥寥。
列奥纳多·达·芬奇，这样一位出色且技艺纯熟的画家，尚且需要文字来补充自我头脑中的想象。那么，卢西安·弗洛伊德本人的文字，我们又有何道理不重视呢？
尤其是在写下这篇文字之后，卢西安·弗洛伊德的绘画就开始了转变，如下图所示。
酒店卧室（Hotel Bedroom），一九五四，布面油画
着贝雷帽的女孩儿（Girl with Beret），一九五四，布面油画
一位女画家（A Woman Painter），一九五四，布面油画，这是开始尝试转变的阶段，尽管仍然是罩染（即将薄薄的颜色层层叠加）画法，但对于绘画对象精神的捕捉已经开始，脸部的结构开始被有意地深刻化
一位作家（A Writer），一九五五，布面油画，开始尝试直接画法，但用色与笔法仍是古典美术倾向
一位年轻女孩儿的头像（Head of a Young Girl），一九五五，布面油画，弗洛伊德终于完全地与古典主义告别，走进了自己的世界里面
这种转变令人想起巴尔扎克的《无名的杰作》。
弗洛伊德画室里的墙，正是《无名的杰作》中最后的画之现实表现
既然没有人想到要做这个事情，那么就让我来做好了。
关于绘画的一些想法（Some Thoughts on Painting）
卢西安·弗洛伊德（Lucian freud）一九五四
My object in painting pictures is to try and move the senses by giving an intensification of reality. Whether this can be achieved depends on how intensely the painter understands and feels for the person or object of his choice. Because of this,painting is the only art in which the intuitive qualities of the artistic may be more valuable to him than actual knowledge or intelligence.
我绘画的目的，是借由深刻的现实来尝试变幻人之感受。画家对于其选择出现在画中的人或物体能够有多深的体会，决定了我所欲求的这种目的是否能够达成。正因为如此，只有绘画才是一门能令感知直觉的能力相较于确实的知识与智慧更为重要的艺术。
The painter makes real to others his innermost feelings about all that he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt. The painter must give a completely free rein to any feelings or sensations he may reject nothing to which he is naturally drawn. It is just this self-indulgence which acts for him as the discipline through which he discards what is inessential to him and so crystallises his tastes. A painter's tastes must grow out of what so obsesses him in life that he never has to ask himself what it is suitable for him to do in art. Only through a complete understanding of his tastes can he free himself of any tendency to look at things which an eye to the way he can make them fit in with a readymade conception. Unless this understanding is constantly alive, he will begin to see fife simply as material for his particular line in art. He will look at something, and ask himself. "Can I make a picture by me out of this?” And so his work degenerates through no longer being the vehicle of his sensation. One might say that he has come to crvstallise his art instead of his tastes, thereby insulating it from the emotion that could make it alive for others.
画家将其内心深处关心的一切真实地展现在观者眼前。这种被感知的深刻毫无秘密地为观者所知晓。画家必须完全放开任何他难以抗拒的情绪与感触，让它们自然地流露在画笔里。正是这种自我放任为他提供了一种准绳，通过丢弃掉不必要的东西，来使他的品味得以明晰。一位画家的品味必然是从生活中让他着迷的事物里生发出来的，这样他就毋庸自问于在艺术里做什么才是合适的。唯有透彻自我的品味，他才能够不带着任何倾向去看待事物，从墨守陈规的观念中解脱出来。除非这种透彻持久地燃烧下去，否则他就会将生命浅薄地视作他艺术中特殊类别的材料。他会看着什么而自问道：“我能依靠我自己为它作张画吗？”因此，他的作品就会因其不再是感知的载体而堕落。有的人或许会说这是他已经用具体的艺术取代了他品味的明晰，但因此却使得作品与能在观者面前赋予它生命的情感绝缘了。
The painter's obsession with his subject is all that he needs to drive him to work. People driven towards making works of art, not by familiarity with the process by which it is done, but by a necessity to communicate their feelings about the object of their choice with such intensity that these feelings become infectious. Yet the painter needs to put himself at a certain emotional distance from the subject in order to allow it to speak. He may smother it if he lets his passion for it overwhelm him while he is in the act of painting. Painters who deny themselves the representation of life and limit their language to purely abstract forms, are depriving themselves of the possibility of provoking more than an aesthetic emotion.
驱使画家工作的唯一动力源于其对于绘画对象的痴迷。人们被驱动去进行艺术创作，不是因为要通过它练就纯熟的技艺，而是因为必须要传达他对于其选择的对象之强烈体会，要使得这种体会变得富有感染力。但是画家必须为了能让其表达出来而让自己与对象保持一定的情感克制。当他在作画时被激情所淹没时，或许就需要让自己平复下来。那些拒绝表现生命，并且将自己的绘画语言局限在抽象形式的画家们，正在剥夺自我激发更多审美情感的可能性。
Painters who use life itself as their subject-matter, working with the object in front of them or constantly in mind, do so in order to translate life into art almost literally, as it were. The subject must be kept under closest observation: if this is done, day and night,the subject--he, she, or it--will eventually reveal the all without which selection itself is not possible; they will reveal it, through some and every facet of their lives or lack of life, through movements and attitudes, through every variation from one moment to another. It is this very knowledge of life which can give art complete independence from life, an independence that is necessary because the picture in order to move us must never merely remind us of life, but must acquire a life of its own, precisely in order to reflect life. I say that one needs a complete knowledge of life in order to make the picture independent from life, because, when a painter has a distant adoration of nature, an awe of it, which stops him from examining it, he can only copy nature superficially, because he does not dare to change it.
将生命本身作为素材的画家们，与他们面前的绘画对象一起创作，或是不断地在头脑中描绘。这样做可说是为了将生命分毫不差地转换成艺术。绘画对象必须被最深入地观察：假使如此，夜以继日地观察，绘画的对象——他、她或是它，最终将会揭示出其自身不可思议的一切；它们将会通过它们生机盎然或死气沉沉的各类表现，通过动作和姿态，通过时刻变化的每一个动作来揭示出这一切。这种对于生命的透彻，使得艺术完全从生命中独立了出来。这种独立是必要的，因为画作是为了让我们为生命而触动，是为了如实地反映生命，让它重归自我，而非仅仅只是提醒我们生命本身的存在。我说画家需要透彻于生命以使得画作独立于生命，是因为当画家对于自然拥有深远的崇拜与敬畏时，对于它的审视就停止了，他仅能够机械肤浅地抄绘自然，全因他畏于改变。
A painter must think of everything he sees as being there entirely for his own use and pleasure. The artist who tries to serve nature is only an executive artist. And, since the model he so faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model. Whether it will convince or not depends entirely on what it is in itself, what is there to be seen. The model should only serve the very private function for the painter of providing the starting point for his excitement. The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
一位画家必须对于他眼见的任何事物了然于胸。一位试着为自然做奴仆的艺术家仅仅只是一位执行艺术家。并且，因为他忠实还原的模特儿并不会被挂在画作旁边，因为画作本身就在那儿，所以对于模特儿的还原是否精准并不紧要。它是否令人信服完全只取决于它自己被看到的样子。模特儿应该成为画家的禁脔，为他提供最初的兴奋。画作是他关于对象的全知全觉，是他认为具有存留价值的一切，是他所甘于奉献的全部。如果一位画家确实地将他从对象之上获取的所有特质都表达了出来，那么就仅此一幅，别无二画。
The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell. The effect in space of two different human individuals can be as different as the effect of a candle and an electric light bulb. Therefore the painter must be as concerned with the air surrounding his subject as with that subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.
一个人或是物体所散发出的氛围犹如它们骨肉相连的部分。它们在空间中造成的影响与其颜色和气味紧密相连。两个不同的人类个体在空间中造成的影响之殊异犹如蜡烛和电灯泡一般。因此，画家必须像关注对象本身一样，密切关注围绕于对象的空气。正是通过对于氛围的观察与知觉，他才能够在绘画中表达出他所希冀传达的感受。
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then that the painter realises that it is only a picture he is painting. Until then he had almost dared to hope that the picture might spring to life. Were it not for this, the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. Thus the process of creation becomes necessary to the painter perhaps more than is the picture. The process in fact is habit-forming.
在艺术创作中从不会有完全愉悦的时刻。在创作过程中会有到触及到它的希望，但随着作品的完成就已经烟消云散。因为在那时，画家才会真正意识到他只是创作了一幅画而已。直到那时，他也不敢奢求这幅画作能够栩栩如生。如果不是这样的话，当一幅完美的画作被创作出来，画家就可以在完成它之后封笔了。正是这种巨大的不足驱使着他继续前进。因此，对于画家来说，创作的过程可能比画作本身更为重要。事实上，创作的过程令人上瘾。