灰熊教授 (The Grizzly Professor)
Edgar Ewing came through the door. The students beheld a tweed suit topped with a grizzly gray mustache and sparkling blue eyes. He moved with the melody of confidence and the whimsy of delight. He set down his case on the table, spread his arms, and smiled at the the classroom of freshman students. “Making art,” he announced “is like making love.”
埃德加·尤因( E dgar Ewing)穿过门。 学生们看到了一套花呢西装，上面戴着灰熊的灰色胡须，闪闪发光的蓝眼睛。 他带着自信的旋律和欢乐的幻想动了动。 他把箱子放在桌子上，张开双臂，对新生的教室微笑。 他宣布：“制造艺术就像在做爱。”
The students looked at one another with sidelong smiles, most of them inexperienced with one or the other part of the metaphor, and certainly not fathoming the connection between the two. It was the first day of a fundamentals of oil painting class at USC. The year was 1974.
学生们side地微笑着看着对方，他们中的大多数人对隐喻的另一半没有经验，当然也不了解两者之间的联系。 这是南加州大学油画基础课的第一天。 那年是1974年。
In the 1970’s, the art department at USC was dominated by abstract expressionism. Ewing was the exception in the department, he was an artist with technical skill and a deep passion for art. Representational art, that is — the kind that depicts the world around us (figures, landscapes, still lifes) in a way that reflects how our sense organs experience the world.
在1970年代，南加州大学的艺术系以抽象表现主义为主导。 尤因是该部门的例外，他是一位技术娴熟，对艺术充满热情的艺术家。 代表性艺术，即一种以反映我们的感官器官如何体验世界的方式描绘我们周围的世界(数字，风景，静物)的艺术。
While other professors taught classes on conceptual or found-object art, Ewing taught his students how to paint. Never having had a classical training, Ewing was an experimental modernist who floated between realism and cubism. His colors were intense, subtle, and always moving.
其他教授讲授概念艺术或发现对象艺术的课程时，尤因则教他的学生如何绘画。 尤因从未接受过经典培训，他是一位实验性的现代主义者，在现实主义和立体主义之间徘徊。 他的色彩浓烈，微妙，并且总是动容。
In the piece Bugler’s Table, a vivid red cloth emerges from a textured cool background. Objects on the table float in various layers of transparency and shadow.
在布格勒的桌子上 ，生动的红色布料从带纹理的冷色背景中露出来。 桌子上的物体漂浮在不同的透明度和阴影层中。
Whatever the technique or style, whatever the period of his work, Ewing didn’t paint unless he felt something. He had an infectious, childlike excitement about painting.
无论技术或风格如何，无论工作的时间长短，Ewing都不会绘画，除非他感觉到了什么。 他对绘画有一种感染性，童趣的兴奋。
One student, Michael Newberry, took to him instantly.
一个学生，迈克尔·纽伯里(Michael Newberry)，立即带走了他。
Newberry, who had fallen in love with Rembrandt at an early age, had spent every spare moment of his teenage years drawing and painting, challenging himself to capture highlights and reflections. He was also an excellent tennis player and had received a full scholarship from USC.
纽伯利(Newberry)早年就爱上了伦勃朗(Rembrandt)，他在少年时代的每一个业余时间都在绘画和绘画上，挑战自己捕捉精彩场面和反思。 他还是一位出色的网球运动员，并获得了南加州大学的全额奖学金。
From the first weeks of his freshman year, Newberry seemed to understand that the professors at USC were not looking for skill or emotion, they were not teaching art. He knew what art felt like; it was a universe of emotion, it was the sparkle and magic of Rembrandt. Whatever this was, was not that. Until Ewing walked through the door.
从大一新生的头几周开始，纽伯里就似乎了解到南加州大学的教授们并不是在寻找技能或情感，也不是在教艺术 。 他知道艺术的感觉。 这是情感的宇宙，是伦勃朗的火花和魔力。 不管是什么， 不是那样。 直到尤因走过门。
In class, Ewing would walk around looking over the shoulders of his students. Once, while Newberry was painting a still life of bones, Ewing reached over his shoulder, thrust his thumb in the white paint, and scraped a highlight across a bone in front.
在课堂上，尤因会四处张望，看着学生们的肩膀。 有一次，当纽伯利(Newberry)绘制骨头的静物画时，尤因(Ewing)伸到他的肩膀上，用白色油漆刺了他的拇指，并在前面的骨头上刮了一个亮点。
Suddenly, the bone popped forward in space.
突然，骨头在太空中突然弹出 。
Something clicked. Newberry had spent years lovingly contemplating Rembrandt, who was a master of achieving a realness in the depth and space created by the forms.
有人点击了。 纽伯里(Newberry)花了很多年的时间仔细考虑伦勃朗(Rembrandt)，伦勃朗是实现形式所产生的深度和空间真实性的大师。
For example, in Aristotle Contemplating a Bust of Homer, there is a slow gradation of brightness as an arm, draped with golden folds, creates a triangle in space between the shoulder, elbow, and wrist. Each point has a sharpness that suspends it at a point in space that has a clear triangulated relationship to everything else in the painting — Aristotle’s nose, Homer’s forehead, the corner of the table. The golden folds of the arm bend to follow the shape of the arm, melting into the deep umber of the background as it recedes from our view.
例如，在《 亚里斯多德的荷马半身像》中 ，手臂的光辉渐变很慢，上面布满了金色的褶皱，在肩膀，肘部和手腕之间的空间中形成了三角形。 每个点都具有清晰度，使它悬浮在空间中与绘画中其他所有东西都有明显三角关系的点上-亚里斯多德的鼻子，荷马的额头，桌子的角落。 手臂的金色褶皱随手臂的形状而弯曲，随着它从我们的视线中消失而融化到深深的背景中。
In Rembrandt’s world of browns and golds, the gold brought an object forward in space, and the local intensity of the contrasts between the shadows and highlights locked a point in space. The effect became a caressing sense of depth that the eye, and the soul, could feel.
在伦勃朗的棕色和金色世界中，黄金将物体带入太空，阴影和高光之间的对比度的局部强度锁定了空间。 这种效果变成了眼睛和灵魂可以感觉到的爱抚的深度感 。
Ewing didn’t tell Newberry what color combinations to use, or how to start. He didn’t even express the idea verbally. It was all about making the vibrations of color work with one another, letting your eye and heart lead you. He taught by example. And, by occasionally sticking his finger in the paint.
Ewing没有告诉Newberry要使用什么颜色组合或如何开始。 他甚至没有口头表达这个想法。 就是要使色彩的振动相互配合，让您的眼睛和心脏引领您。 他以身作则。 而且，偶尔将他的手指粘在油漆上。
立体镜 (Stereoscopy)
Human beings are, biologically speaking, omnivores. Our eyes point forward in order to hunt prey, and our eyes have a nuanced color perception in order to distinguish between edible fruits. We evolved from primates that lived in dense jungles, and the mechanics of our senses are specifically designed for unbelievably fantastic perception of three dimensional depth and space in confusing environments.
从生物学上讲，人类是杂食动物。 我们的眼睛指向前方以捕猎猎物，而我们的眼睛则具有细微的颜色感知能力，以区分可食用的水果。 我们从居住在茂密丛林中的灵长类动物进化而来，我们的感官机制专为在令人困惑的环境中对三维深度和空间的奇妙感知而设计。
What allows us to see so well is stereopsis, the ability to see in stereovision, in which our brain takes in the images from two eyes and performs a calculation to gauge the distance. This our brain does automatically, and after a lot of experience seeing this way, we begin to pick up a wide variety of other depth cues that aid the effort.
是什么让我们看到了如此出色的立体视觉 ，立体视觉中能够看到，在我们的大脑需要在图片来自两只眼睛和执行计算来衡量的距离。 我们的大脑会自动执行此操作，在经历了很多这样的体验之后，我们开始选择各种有助于操作的其他深度提示。
Oliver Sacks, the famous neuropsychologist and writer (and until his recent passing one of my favorite people in the universe) was always particularly fascinated by stereovision. He collected stereograms, which allow the viewer to see in artificial depth by way of polarized light, colors, or plastic ridges like early versions of today’s holograms.
著名的神经心理学家和作家奥利弗·萨克斯(Oliver Sacks)(直到他最近去世时，是我在宇宙中最喜欢的人之一)一直对立体视觉特别着迷。 他收集了立体图，使观看者可以通过偏振光，颜色或塑料凸脊(如今天的全息图的早期版本)在人造深度内观看。
Sacks is well known for his entertaining stories of individuals with weird neurological problems. In Sacks’s book The Mind’s Eye, he tells the story of Sue Barry (“Stereo Sue”). Sue was born cross-eyed and had several eye surgeries when she was a little girl. She didn’t achieve true stereovision until her late 40’s, with correction and physical therapy.
萨克斯以其有趣的神经病问题个人娱乐故事而闻名。 在萨克斯的书《心灵的眼睛》中 ，他讲述了苏·巴里(“ Stereo Sue”)的故事。 苏出生时眼睛交叉，小时候曾做过几次眼科手术。 直到40年代后期，她才通过矫正和物理疗法实现真正的立体视觉。
A few days into her therapy, the world started to pop into three dimensions. Documenting her experience in letters and a diary, and later her own book, she described the experience as “absolutely delightful.” Stereovision made ordinary things look extraordinary. Sometimes, it was shocking — like when she walked by a horse skeleton on display and it loomed at her, frightfully close in space.
在她接受治疗的几天后，世界开始陷入三个层面。 她用信件和日记记录了她的经历，后来又写了自己的书，将经历描述为“绝对令人愉快”。 Stereovision使平凡的事物看起来非同寻常 。 有时，这令人震惊-就像她走过展出的一具马骨架并隐约出现在她身边时，它在太空中可怕地靠近。
Once on a run, she stopped and just gazed at the vegetation:
跑步后，她停了下来，凝视着植被：
every leaf seemed to stand out in its own little 3-D space. The leaves didn’t just overlap with each other as I used to see them. I could see the SPACE between the leaves.
每片叶子似乎都在自己的3D小空间中脱颖而出。 叶子不只是彼此重叠，就像我过去看到的那样。 我可以看到叶子之间的空格。
She was so enamored with the world that she would take hours to just walk around and look at her new environment. Even after a few years of the new vision, it continued to surprise and delight her. Her visual experiences became a deep source of joy.
她对世界如此着迷，以至于要花几个小时才可以走来走去，看看自己的新环境。 即使经过了几年的新构想，它仍然使她感到惊讶和高兴。 她的视觉体验成为一种深层的欢乐之源。
How wonderful would be to experience the world again, for the first time? Sometimes, art gives us that chance. But the idea of taking delight in our senses was not a theme often picked up in twentieth century art. Abstract art delights in a distorted visual picture, unconscious of the reality that many people fight against distorted vision their entire lives.
第一次再次体验这个世界会多么美妙？ 有时，艺术给了我们机会。 但是，以我们的感官为乐的想法并不是二十世纪艺术中经常出现的主题。 抽象艺术使扭曲的视觉画面令人愉悦，无视许多人在整个生命中与扭曲的视觉作斗争的现实。
透明度实验 (Experiments in Transparency)
In 1974, under coach George Toley, the USC tennis team tied for first place. But in a summer tournament in Hamburg, Newberry had begun to sense his own limitations in the sport.
1974年，在教练乔治·托利(George Toley)的带领下，南加州大学网球队获得并列第一名。 但是在汉堡举行的夏季锦标赛中，纽伯利开始意识到自己在这项运动中的局限性。
Meanwhile, in his art, he could nail it. Everything he was trying to do, every time he pushed himself to master something new. And he didn’t stop until the expression was there, he could feel it. It gave him the energy and excitement to try the next thing. To push harder.
同时，在他的艺术中，他可以钉牢它。 每次他努力使自己掌握新事物时，他都会尝试做的所有事情。 他直到表情出现之前才停下来，他能感觉到。 这给了他尝试下一件事的精力和兴奋。 更加努力。
Newberry accepted an offer from Holland to play tournaments as their one international player. He did so for the next several years. It left most of his year free to do art, and provided him a stipend.
纽伯利(Newberry)接受了荷兰的邀请作为他们的国际球员参加比赛。 在接下来的几年中，他一直这样做。 这使他大部分时间都可以自由从事艺术创作，并为他提供了津贴。
Europe was where the art was. The Hague had the Royal Academy of Art, and the Free Academy, which held nine hours of figure drawing sessions with live models, three days a week. Even one day there would be more life drawing than he had experienced in three years of class at USC.
欧洲就是艺术的发源地。 海牙有皇家艺术学院和自由学院，每周举行三天的活动，共举行了九个小时的现场模型绘画会议。 甚至有一天，他的生活经历也将比他在南加州大学三年级的经历多得多。
Following the insight that began with Ewing, Newberry concentrated his thought on the space of a painting, and the movement of forms through space. All the greats in history were masters of it.
跟随Ewing的见识，Newberry将他的思想集中在绘画的空间以及形式在空间中的移动。 历史上的所有伟人都是它的主人。
The contrast of a white object over a dark background, or a dark object over a white background — these relied on value to create space. Rembrandt translated value space into browns and golds. Contrasts in between the highlights and shadows on each point in space strengthened the illusion.
白色物体在深色背景上或黑色物体在白色背景上的对比度–这些依赖于价值来创造空间。 伦勃朗将价值空间转化为棕色和金色。 空间中每个点的高光和阴影之间的对比增强了幻觉。
In the above image, which square in each line appears furthest forward? I see the black square in the first line popping forward, and the whitest square in the second line popping forward.
在上图中，每行中哪个正方形显示得最远？ 我看到第一行中的黑色正方形向前弹出，第二行中最白的正方形向前弹出。
Colors, too, could create the contrast needed for the illusion of depth. The French Impressionists, especially Monet, injected an expansive new realm of possibility for color. A warm orange object over a cool blue background could pop it forward in space, but so could a cool green object over a hot red background. The contrasts between ‘hot’ and ‘cool’ colors brought objects forward, and transparencies sent objects away.
颜色也可以创建深度错觉所需的对比度。 法国印象派画家，尤其是莫奈，为色彩可能性注入了广阔的新领域。 较冷的蓝色背景上的暖橙色对象可能会将其弹出到太空中，但是较热的红色背景上的冷绿色对象也可能会弹出它。 “热”和“冷”颜色之间的对比使物体向前移动，而透明胶片将物体带走。
In Monet’s Water Lilies piece from 1919, the scene is close enough to the viewer that Monet cannot rely purely on atmospheric depth to create a sense of space. Instead, lilies on the surface of the water pop forward by using strong yellow-blue contrasts, yellow-green contrasts, and yellow-purple contrasts. Lilies in the distance blend more with the ochre-greens. If you concentrate only on the reflections, you can see the water fades from almost purple-blue in front to light indigo in the distance, and the trees fade from vibrant forest green to ochre. He is controlling the depth of both the surface of the water and the content of the reflections.
在莫奈1919年创作的《睡莲》中 ，场景离观看者足够近，莫奈不能完全依靠大气深度来营造空间感。 取而代之的是，通过使用强烈的黄蓝色对比，黄绿色对比和黄紫色对比，百合在水面上会向前弹出。 远处的百合与the色果岭混合得更多。 如果仅专注于反射，则可以看到水从前面的近紫蓝色逐渐消失为远处的靛蓝，树木从充满活力的森林绿色逐渐变为色。 他正在控制水面的深度和反射的内容。
Although art in the twentieth century took a turn away from realism, Picasso started his career as a masterful representational painter. In Nature morte au compotier, a frenetic painting with two dimensional forms patched almost into a collage, Picasso allows background layers to come through foreground layers, making them transparent. A piece of cloth clearly falls over the edge of the table, but where the line of the table meets the line of the wall in the distance, the cloth has a clear gradation of lightness that occurs right at the line.
尽管20世纪的艺术转向现实主义，但毕加索的职业生涯始于杰出的代表性画家。 在Nature morte au compotier ( 自然morte au compotier)中 ，一幅狂热的画作，几乎以拼贴的形式修补了二维形式，毕加索允许背景层穿过前景层，使它们透明。 一块布显然掉落在桌子的边缘上，但是如果桌子的线与墙壁的线相隔一定距离，则该布的线条清晰明了，恰好出现在该线条上。
In his Melancholy Woman, the face is made up a series of blues that deepen into the figure’s eye socket. These blues make the shadows transparent to the background. This creates an artificial sense of depth in the shadow that feels right, even if, out of context, it would place the left cheek of the figure to far back in space.
在他的《 忧郁女人》中，脸部由一系列的蓝色组成，深深地渗入了人物的眼窝。 这些蓝色使阴影对背景透明。 即使在脱离上下文的情况下，这也会将人物的左脸颊放回太空中，从而在感觉良好的阴影中创建人为的深度感。
Newberry wanted to create optical realism and felt that Picasso had added something brilliant to the tools of prior masters. In three canvases from this period in Holland, Newberry began to experiment with the power of transparency to create depth.
纽伯里(Newberry)希望创造视觉逼真的感觉，并认为毕加索为以前的大师的工具增加了一些精采的东西。 纽伯利(Newberry)在荷兰这段时期的三幅油画中，开始尝试使用透明度来创造深度。
In Jette, he washed a limb to make it recede into the distance, transparent to the blue of a window behind it. He strengthened a thigh in the foreground with an intense red to pull it forward from the pink of the floor. When cool blues fell back, hot reds pulled forward.
在《 杰特(Jette)》中 ，他洗了一条肢体，使其退回远处，对背后的窗户的蓝色透明。 他用强烈的红色加固了前景中的大腿，使其从地板的粉红色中拉出。 当冷蓝调回落时，热红调向前拉。
In Rob II, the background is muted gradations of green, the edge of the bed beyond drawing a line through the figure. In the foreground, a knee pops out of the canvas, and a triangulation of space is established between the elbow and both knees that creates an enormous gulf of space.
在Rob II中 ，背景是绿色的渐变，床的边缘超出了图中的线条。 在前景中，膝盖从画布中弹出，并且在肘部和两个膝盖之间建立了三角形的空间，这创造了巨大的空间鸿沟。
In both pieces, the lines of the background cut through the figures in ways that go far beyond normal optical realism. But squinting at the painting, something seems to work that makes it dissolve into space.
在这两个部分中，背景线都以远远超出正常光学真实感的方式切入图形。 但是斜视着这幅画，似乎有些作品使它溶解到了太空中。
In Rob I, the background comes through the figure, especially in the shadows, while blue highlights sharpen the form and bring it forward in space. Squinting seems to clarify the planes of space. The first plane is the figure’s left arm and left knee, and the table. The next plane is the rest of the figure. And then, the background.
在《 Rob I》中 ，背景贯穿整个图形，尤其是阴影中，而蓝色高光则使该形状更加鲜明，并使其在空间中向前发展。 斜眼似乎可以澄清空间平面。 第一个平面是人物的左臂和左膝盖以及桌子。 下一个平面是该图的其余部分。 然后是背景。
The pieces dissolved and materialized the figure in space like a force field of color and light; the iridescence of a soap bubble sculpted into human shape, absorbing and reflecting the atmosphere around it.
这些碎片在空间中像色彩和光的力场一样溶解并具体化了人物形象。 肥皂泡的虹彩雕刻成人的形状，吸收并反射周围的气氛。
Scientifically speaking, the paintings were experiments in how to create the illusion of stereoscopic vision on a two-dimensional canvas.
从科学上讲，这些绘画是关于如何在二维画布上创建立体视觉幻觉的实验。
进化到伟大 (Evolution to Greatness)
As Newberry continued to develop as an artist, he sought to integrate the depth sensations produced by color contrasts, shadow-highlight contrasts, and color transparencies with a mastery of natural realism. The next phase of his life was in New York and Los Angeles.
随着Newberry继续发展成为一名艺术家，他试图将色彩对比，阴影-高光对比和色彩透明所产生的深度感与自然逼真度融为一体。 他一生的下一个阶段是在纽约和洛杉矶。
In the oil painting The Writer and the Artist, there is clear relationship in space between the heads, hands, and knees of the figures, as well as the edges of the desk and chair. Every detail and form is locked in position, brought forward by the intensity of the contrasts. The figures easily float over the flat plane in the background, which almost has an atmospheric depth to it.
在油画《作家和艺术家》中 ，人物的头部，手部和膝盖以及桌子和椅子的边缘之间存在明显的空间关系。 每一个细节和形式都被锁定在适当的位置，这是由对比的强度提出的。 这些图形很容易在背景的平面上浮动，该平面几乎具有大气深度。
Further, notice the color transparency in the shadows, such as the man’s right arm leaning on the table. The transparencies are extremely subtle and almost subliminal.
此外，请注意阴影中的颜色透明度，例如男人的右臂倚在桌子上。 透明胶片非常微妙，几乎是潜意识的。
Finally, notice how the brightness of the background plane is sculpted around each figure. I like to call this “warping” space. There is almost a halo of light at the back of the woman’s head in order to pop the shadowed brown hair against the background. There is an extremely subtle thread of light following the edge of the man’s right arm in order to ensure that it doesn’t dissolve completely.
最后，请注意如何围绕每个图形雕刻背景平面的亮度。 我喜欢称其为“扭曲”空间。 女人的头后部几乎散发出光晕，以使阴影的棕色头发在背景上弹出。 男人的右臂边缘有一条非常细微的光线，以确保光线不会完全溶解。
Although Newberry achieved mastery with this piece, it still doesn’t feel like many of his later works, because it lacked the intense color vibrancy that would distinguish the next twenty years of work.
尽管Newberry精通此作品，但仍感觉不到他的许多后期作品，因为它缺乏强烈的色彩鲜艳度，无法区分接下来的20年作品。
When Newberry began drawing with pastels, he discovered that blending the pastel into the paper quickly saturates the ability of the drawing to receive new layers. But using individual strokes, with space between the lines, allows layer upon layer of color to be added. Further, the color of the paper itself still came through transparently in the shadows.
当Newberry开始使用蜡笔进行绘制时，他发现将蜡笔混合到纸中会Swift饱和图形接收新图层的能力。 但是使用单独的笔划，在线条之间留有间隔，可以逐层添加颜色。 此外，纸张本身的颜色仍在阴影中透明地通过。
Pastels became a laboratory for observing color combinations and nuance in nature and life. Newberry began doing color studies in pastel for new major paintings. Translating pastel into oil was not easy, but it gave a new powerful dimension of color brilliance to his works.
蜡笔成为观察自然和生活中色彩组合和细微差别的实验室。 纽伯利(Newberry)开始对新的主要绘画进行粉彩色彩研究。 将粉彩转换为油并非易事，但这为他的作品赋予了色彩鲜艳的新强大维度。
In Pursuit, Newberry dramatizes a scene between two lovers on the streets of New York. The scene was controversial in its portrayal of a woman playing cat and mouse in an alley as her lover approaches. The woman is beckoning her lover and almost overcome by the anticipation; one viewer described it as a “disconcerting mix of excitement and fear.”
在《 追求》中 ，纽伯利(Newberry)戏剧化了纽约街头两个情人之间的场景。 该场景描述的是一个女人在爱人接近时在巷子里玩猫和老鼠的故事。 这个女人在招呼她的爱人，几乎被她的预期所克服。 一位观众将其描述为“令人兴奋和恐惧的令人不安的混合”。
The woman’s vibrant red dress under an orange street lamp contrasts against the cool blues of the fading evening sky. Hot colors floating over cool colors.
女人在橙色路灯下充满活力的红色连衣裙与褪色的傍晚天空的湛蓝对比。 暖色漂浮在冷色之上。
The drape of the woman’s dress shows that Newberry first studied the figure in the nude before layering clothes, to allow the shape of the figure to come through the flat fabric.
女人衣服的悬垂性表明，纽伯利先将裸露的人像研究出来，然后再将衣服分层，以使人像的形状穿过平整的织物。
With Pursuit in 1985, Newberry had created drama and an emotional depth within the figure. He had shown his true colors as an optimist and a romantic and done it by integrating wisdom from previous generations of artists.
1985年，凭借《追逐》，纽伯利在人物中创造了戏剧性和情感深度。 他表现出了自己作为乐观主义者和浪漫主义者的本色，并通过融合前几代艺术家的智慧做到了这一点。
With his next piece, he wanted to push it as far as he could go, to make the greatest work he was physically capable of making. He wanted the theme to be universal, but not political. And he wanted to reach for the most important moment in life for a human being.
对于他的下一件作品，他想将其推到最大，以实现他身体上能够完成的最大工作。 他希望这个主题具有普遍性，而不是政治性。 而且他想触及人类生命中最重要的时刻。
After three years of work, the result was Denouement, a scene with two radiant lovers and a lamp spilling golden light over a Mexican carpet. The complexity of color integration in this piece is masterful; orange light diffuses through a transparent green sheet to casts transparent shadows against the golden walls and subtly alter the colors in the carpet. Discarded blue clothes float over hot yellows and greens.
经过三年的工作，最终产生了Denouement ，这是一个场景，有两个充满爱心的恋人和一盏在墨西哥地毯上洒下金色光芒的灯。 色彩整合的复杂性非常精湛。 橙色的光通过透明的绿色薄片扩散，在金色的墙壁上投射透明的阴影，并巧妙地改变地毯的颜色。 丢弃的蓝色衣服漂浮在热黄色和绿色上。
Newberry prepared over a hundred sketches and pastel studies for the piece, but even so it was overpainted many times. In progress photographs, the colors are more naturalistic, the human skin appearing as if under a white light. Over time Newberry altered the atmosphere to show what the lovers were feeling — with a hot vaporous cloud of warmth, like the corona of the Sun, radiating from the lover’s bodies.
纽伯里(Newberry)为该作品准备了一百多个草图和粉彩研究，但即便如此，它还是被多次粉刷。 在进行摄影时，颜色更加自然，人的皮肤看起来好像在白光下。 随着时间的流逝，纽伯利(Newberry)改变了气氛，展现了情人的感受 –充满了热气腾腾的温暖云团，像是太阳的日冕，从情人的身体散发出来。
Like Monet’s Water Lilies, the carpet is a flat surface receding in space, and the colors had to harmonize perfectly for it to work. Newberry worked on the painting’s color harmonies for thousands of hours.
就像莫奈的《睡莲》一样，地毯是在空间中渐渐退去的平坦表面，其色彩必须完美协调才能发挥作用。 纽伯里(Newberry)致力于绘画的色彩协调数千小时。
To complicate things, the light source is in the middle of the painting. Whereas a photograph might show an extremely sharp contrast where the light source was obscured by an object, Newberry made surfaces more luminous as they approached the light source, even in the shadows. This recreated the glare the human eye perceives when looking directly at a light source.
为了使事情复杂化，光源位于绘画的中间。 一张照片在光源被物体遮挡的情况下可能会呈现出非常鲜明的对比，而Newberry在接近光源时，即使在阴影中，也会使表面发光。 这重现了当直接看光源时人眼所感知的眩光。
The theme, beauty and complexity of this piece makes it one of the masterpieces of American art in the twentieth century.
这件作品的主题，美感和复杂性使其成为二十世纪美国艺术的杰作之一。
视觉科学 (The Vision Science)
In 2002, Newberry gave a talk to the European Conference on Visual Perception in Glasgow, Scotland on his technique of transparency and contrast. He was speaking to vision scientists, who study the physics, anatomy, cognition, and psychology of vision.
2002年，Newberry在苏格兰格拉斯哥举行的欧洲视觉感知会议上发表了有关透明和对比技术的演讲。 他正在与视觉科学家交谈，他们研究视觉的物理学，解剖学，认知和心理学。
Newberry began by discussing value space, blacks over a white field; whites over a black field, and referring to examples such as ancient cave paintings, sketches by Michelangelo, and paintings by Monet. He then discussed modern intense color contrasts seen in the work of Van Gogh — intense yellows and oranges with a blue field; and intense blues and greens over an orange field.
纽伯利(Newberry)首先讨论了价值空间，一个是白人，另一个是黑人。 白人在黑色的田野上，并引用了一些例子，例如古代洞穴壁画，米开朗基罗的素描和莫奈的画。 然后，他讨论了梵高作品中出现的现代强烈的色彩对比-强烈的黄色和橙色和蓝色。 以及橙场上的强烈蓝绿色。
One of his own paintings that he spoke about, Pastels, is a small oil on panel that might be considered an allegory of color. A box filled with cool color pastels sits on top of a box of warm color pastels. The hot background punches the cool colors forward in space. There is also a visual joke in this piece — a single pink pastel stub was tossed into the wrong box.
他谈到的他自己的一幅画作《 粉彩》(Pasteles )是板上的一种小油，可能被认为是色彩的寓言。 一盒装有冷色粉彩的盒子位于一盒暖色粉彩的顶部。 炽热的背景向太空中发出冷色调。 这件作品还有一个视觉笑话-一个粉红色的粉彩存根被扔进了错误的盒子。
When illustrating cool colors popping forward over hot fields, Newberry comments:
当说明冷色在热场上突然弹出时，Newberry评论：
In art school we were taught that cool colors go back and warm colors come forward, this diagram contracts that idea
在美术学校，我们被教导冷色调会回到过去，而暖色调会出现，这个图使这个想法更合时宜。
In 2015, the vision scientist Jan Koenderink from the University of Leuven published a study on Hue contrast and the sense of space in which participants were asked to make depth judgments based on stimulus patterns. Each pattern consisted of two color fields with a material feel but a fuzzy edge, such as the one below. All four orientations for each color pair were provided to help take away any bias due to orientation.
2015年，鲁汶大学的视觉科学家Jan Koenderink发表了有关色调对比和空间感的研究 ，要求参与者根据刺激模式做出深度判断。 每个图案都由两个色域组成，这些色域具有质感但边缘模糊，例如下面的一个。 提供了每个颜色对的所有四个方向，以帮助消除由于方向所引起的任何偏差。
The data demonstrated that participants preferred to see hot colors as near, and cool colors as far. It also revealed that yellows and oranges were more ambiguous to observers.
数据表明，参与者更喜欢将热色视为近处，将冷色视为远处。 这也表明，黄色和橙色对观察者更为含糊。
When I spoke with Newberry about this study, he felt that this was good evidence for a three-axis approach to color space. Yellows can be interpreted as hot or cool depending on the context, and we don’t have as strong of a preconceived bias.
当我与Newberry谈论这项研究时，他觉得这是三轴色彩空间方法的很好证据。 根据上下文的不同，黄色可以解释为高温还是低温，而且我们没有先入为主的偏见。
It should be possible to design a study that gets closer to Newberry’s theory. Imagine if participants are shown two images side by side; each one with an object over a field, and the participants are asked to rate which object is deeper in space.
设计与纽伯利理论更接近的研究应该是可能的。 想象一下，如果与会者并排显示两个图像； 每个对象在一个领域上都有一个物体，然后要求参与者对哪个物体在太空中更深的位置进行评分。
Which orange blob looks further back to you? I see the orange blob on the right pop forward more over the blue field. Koenderick believes a study like this may be possible but it would need to compensate for a wide variety of implicit visual biases.
哪个橙色的斑点看起来更远？ 我看到右侧的橙色斑点在蓝色字段上更多地向前弹出。 Koenderick相信这样的研究是可能的，但它需要补偿各种各样的隐性视觉偏差。
见识更深的喜悦 (The Delight of Seeing Deeper)
After months and years of seeing with stereopsis, Sue Barry never lost the delight in the space of the world around her. But she also noticed that her brain began to pick up other tips and tricks to aid the process of recreating an understanding of space even when stereopsis wasn’t there.
经过数月和数年的立体视，苏·巴里(Sue Barry)从未失去对她周围世界的喜悦。 但是她还注意到，即使没有立体视，她的大脑也开始学习其他技巧，以帮助重新建立对空间的理解。
Notice that when you close one eye, the world does not suddenly go flat. This is because your brain is telling your visual processing center that it should be seeing steroscopic depth, even when it isn’t. It is using the way light and shadows are reflecting from surfaces, and at how objects occlude other objects — as well as a great many other subtle factors.
请注意，当您闭上一只眼睛时，世界并不会突然变得平坦。 这是因为您的大脑告诉您的视觉处理中心，即使没有看到，它也应该看到立体深度。 它使用的是光和阴影从表面反射的方式，以及物体如何遮挡其他物体-以及许多其他微妙的因素。
When I first discovered Newberry’s theory of color depth, I spent time training my brain to really feel the depth created by color space. It enriched my appreciation of art immeasurably, much like Sue Barry’s experience. More over, I began to really appreciate old masters.
当我第一次发现Newberry的色彩深度理论时，我花了一些时间训练我的大脑，以真正感受到色彩空间所创造的深度。 就像Sue Barry的经历一样，它极大地丰富了我对艺术的欣赏。 更重要的是，我开始真正地欣赏古老的大师们。
The disappointment came when a great many paintings by living representational artists were insufferably flat. I don’t blame them for that — they are the first of an era still rebuilding after the postmodernists decimated our art culture. Many artists over the age of 40 today had to teach themselves their craft through trial and error; some even by consulting ancient texts.
令人失望的是，许多在世的代表性画家的画作平淡无奇。 我不怪他们-在后现代主义者摧毁我们的艺术文化之后，它们是一个仍在重建的时代的第一个。 今天，许多40岁以上的艺术家不得不通过反复试验来学习自己的手艺。 有些甚至通过查阅古代文献。
Most works of art rely on a wide variety of other context cues for recreating the illusion of space (perspective, lighting, object occlusion, texture, et cetera), but nothing can quite match the feeling produced by a masterwork that integrates color depth. The way it allows your mind to slip into the reality of the artist — a true window into a 3D world — will always be, for me, an experience of joy.
大多数艺术品依靠各种各样的其他上下文线索来再现空间的幻觉(透视，照明，物体遮挡，纹理等 )，但是没有什么能完全匹配集成色深的杰作所产生的感觉。 对我来说，它让您的思想渗入艺术家现实的方式-进入3D世界的真正窗口-对我而言永远是一种愉悦的体验。
Figurative art is coming back; brilliant artists are emerging all over the globe; and an atelier tradition is being reborn at figurative art academies that will allow knowledge to pass from Newberry’s generation to the next, and then the next.
形象艺术又回来了。 杰出的艺术家正在全球涌现； 具象艺术学院的工作室传统正在重生，它将使知识从纽伯利的一代传到下一代，再传给下一代。
Michael Newberry’s work may be seen on his website, or instagram (@artnewberry). Special thanks for use of his images.
迈克尔·纽伯里(Michael Newberry)的作品可以在他的 网站 或 instagram (@artnewberry) 上看到 。 特别感谢您使用他的图像。
Brett Holverstott is an architect and writer. His work may be seen on his website, instagram (@brettholverstott.architect) or on Medium (Brett Holverstott).
Brett Holverstott是一位建筑师和作家。 他的作品可以在他可以看到 网站 ， Instagram (@ brettholverstott.architect)或中等( 布雷特Holverstott )。
翻译自: https://medium.com/figure-ground-art-review/the-art-of-illusion-274b3fab1d8
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