PBS高端访谈:山水画家的艺术展（在线收听）

AMNA NAWAZ: And finally tonight, the mysterious meeting of land, sea, and sky through the eyes of 19th century American artist Winslow Homer. Special correspondent Jared Bowen examines at an exhibit of the landscape painter's enchantment with seascapes. It's part of our ongoing series on arts and culture, Canvas.

JARED BOWEN: Many an artist has heard the siren call of the sea. For Winslow Homer, it would change his life.

BILL CROSS, Curator: We think of him today principally as a marine painter. Until age 33, though, he had never shown a marine painting.

JARED BOWEN: Until then, Homer had been a well-known illustrator who'd captured the Civil War from the front lines. He was raised in Cambridge, Massachusetts, and was a New Yorker by the time he found the sea as a painter in 1869. He was enchanted, says curator Bill Cross.

BILL CROSS: The times of day, the times of tide, storms washing in and washing out, the mysterious meeting of land sea and sky was alluring to him, as it is to us.

OLIVER BARKER, Director, Cape Ann Museum: We have been able to assemble 51 works by Homer here at the Cape Ann Museum.

JARED BOWEN: Oliver barker is the director of the Cape Ann Museum in Gloucester, where Homer at the Beach commemorates the 150th anniversary of the artist as a marine painter.

OLIVER BARKER: We know he came here on four separate occasions, initially to Manchester and then three separate occasions to Gloucester. And so it wasn't accidental.

JARED BOWEN: Homer initially sought out the sea up and down the East Coast. In New Jersey, he found heavily populated beaches, with crowds in wool bathing costumes like this one. But as he moved north, Homer found vastly different vistas. He discovered industry in a Gloucester shipyard and the solitude of rock-strewn beaches.

OLIVER BARKER: He was very inspired by the ordinary people of Gloucester. I think, as time went on, he started to show some of the beauty of the surrounding areas. There are these glorious sunsets.

JARED BOWEN: This is the first marine painting Homer ever exhibited, inspired by Singing Beach in Manchester. It went on view in New York. And, says curator Bill Cross, the critics hated it.

BILL CROSS: He received disdain because he was ahead of his time.

JARED BOWEN: Homer had embarked on his marine painting after a lengthy trip to France, where he was exposed to all that was new in European painting, photography and Japanese prints, none of which had yet taken hold in America.

BILL CROSS: Homer was using diffuse light, had little narrative content. And the critics wanted less sketchy paintings. They wanted a work that included figures.

JARED BOWEN: The hostile reviews continued with these two works called Low Tide. But, here, Homer's response was equally hostile and physical. I know this is a trick question, but one painting or two?

BILL CROSS: Both. BILL CROSS: Homer made his most ambitious painting based on his visits to Long Branch, New Jersey, in 1869, and exhibited that, to scorn.

JARED BOWEN: Scorn from the critics?

BILL CROSS: Scorn from the critics. He removed the painting from the exhibition before the exhibition ended and took his own knife to it, dismembered the painting, and turned it into two works. Only once before in U.S. history have these two paintings been brought together in this way.

JARED BOWEN: Part of the beauty of Homer's works, the light, the glint of the sea, and even a lot of the landscapes are still as they were. Living on Ten Pound Island in Gloucester Harbor, Homer painted some 100 watercolors over one summer. Today, he's known as one of the best watercolorists ever. But he had a profound role model, his mother.

BILL CROSS: She exhibited her watercolors in New York before he did. And when he exhibited his watercolors for the first time, she was in the same exhibition.

JARED BOWEN: Cross says the 11 years of works in these galleries are tantamount to an artist in a process of self-discovery, one that would result in the most significant works of his career. What made some of the greatest works?

BILL CROSS: He was discovering these places in himself through the application of three essential lessons, travel widely, experiment boldly, and love deeply.

JARED BOWEN: For the PBS NewsHour, I'm Jared Bowen of WGBH in Gloucester, Massachusetts.

阿姆纳·纳瓦兹：今晚，我们将从19世纪美国艺术家温斯洛·霍默的视角来了解地面、海洋与天空的神秘交融。本栏目特约记者杰瑞德·伯恩在一次山水画家的展览上欣赏了海洋景色的迷人。本期节目是帆布艺术与文化系列的部分内容。

杰瑞德·伯恩：很多艺术家都被海洋的召唤所吸引。对温斯洛·霍默来说，海洋的魅力改变了他的一生。

比尔·克罗斯，馆长：今天，我们主要将他视为海洋画家。不过，直到33岁，他才开始作与海洋有关的画。

杰瑞德·伯恩：那时候，霍默是一位知名的插画家，他主要画内战前线的情况。他在马萨诸塞州的剑桥长大，1869年他生活在纽约的时候发现了海洋的魅力。馆长比尔说，霍默为海洋所着迷。

比尔·克罗斯：日复一日，潮涨潮落，风暴时来时去，神秘的海陆空对他充满了诱惑力，对我们来说也是如此。

奥利弗·巴克，安妮角博物馆主任：安妮角博物馆有51部霍默的作品。

杰瑞德·伯恩：奥利弗是格洛斯特安妮角博物馆的负责人，这家博物馆曾纪念过霍默作为海洋货架的150周年纪念日。

奥利弗·巴克：我们知道他曾4次到访这里，一开始是去曼彻斯特，然后剩下3次是去格洛斯特。而且都不是偶然到访。

杰瑞德·伯恩：霍默一开始是在东海岸来探寻海洋的魅力。在新泽西州，霍默发现了熙熙攘攘的海滩，看到很多人穿着羊毛做的服装，就像这件一样。但霍默搬到北面之后，又发现了不一样的风景。他发现格洛斯特的修船厂也是一种营生的行当，还发现了与世隔绝又布满岩石的海滩。

奥利弗·巴克：格洛斯特的普通人也给了霍默很多的灵感。我想，随着时间的流逝，然后他开始发现周围区域的美。日落也很好看。

杰瑞德·伯恩：这是霍默展出的第一部与海洋有关的画作。这部作品在纽约展出了。馆长比尔说，评论家都不喜欢这幅画。

比尔·克罗斯：他的作品被许多人蔑视，因为他的作品超越了时代的步伐。

杰瑞德·伯恩：霍默在去法国做了一次长途旅行后，就开始画与海洋有关的内容。那时候，他接触了欧洲画作、摄影、日本印刷的前沿内容。这些在美国都还没有流行起来。

比尔·克罗斯：霍默采用了漫射光，很少采用叙事内容。但评论家想要不那么写生的风格。他们希望画作是有人出现的。

杰瑞德·伯恩：有两部作品叫《低潮》，对于这两部作品，批评之声依然不断。但霍默对批评之声的回应也同样充满敌意，就事论事。我想问个很傻的问题：是一幅画还是两幅画？

比尔·克罗斯：两幅都是。比尔·克罗斯：霍默在1869年到访新泽西州的朗布兰奇之后，就做了最有野心的一幅画，但展出后却遭到了嘲笑。

杰瑞德·伯恩：是评论家嘲笑吗？

比尔·克罗斯：是的。在展览还没结束的时候，他就撤掉了这幅画。然后用刀把这幅画一分为二，变成了两幅作品。美国历史上，这两幅画组合在一起的次数也只有1次。

杰瑞德·伯恩：霍默作品美感部分体现在光、海洋的闪烁，而且他描绘的美可以经历时间的考验。生活在格洛斯特港的十磅岛上的霍默利用夏天的时间画了100幅水彩画。如今的他被认可为最棒的水彩画家之一。但霍默也有一位榜样，那就是他的母亲。

比尔·克罗斯：在霍默还没有展出自己的画之前，霍默的母亲就把他的画在纽约展出了。而当霍默第一次展出水彩画的时候，母亲也去了展览。

杰瑞德·伯恩：比尔说，11年参展作品的经历对于一位艺术家来说就相当于是一场自我发现的旅程了。这场旅程可以铸就他职业生涯的精彩作品。其中一些伟大作品的促成因素是什么？

比尔·克罗斯：霍默通过周游世界、大胆实验、深沉热爱这3件事将自己的所学付诸实践，也完成了对自己的探索。

杰瑞德·伯恩：感谢收听杰瑞德·伯恩从马萨诸塞州格洛斯特发回的《新闻一小时》。