L.S. Lowry: Artist of the People Exhibition Catalogue by ARTouch Consulting

L. S. 洛瑞：艺术家 • 人民 L. S. Lowry: Artist of the People

L. S. 洛瑞：艺术家 • 人民

L. S. Lowry: Artist of the People

开幕 / 2014 年 11 月 14 日下午 3 点

Opening time / 14th Nov 2014 15:00

时间 / 2014 年 11 月 14 日—12 月 16 日

14th Nov-16th Dec 2014

地点 / 南京艺术学院美术馆第 4 展厅

Venue / Art museum of Nanjing University of the Arts No.4 Hall

出品人 / 李小山

Producer / Li Xiaoshan

策展人 / 王亚敏，安德鲁 • 卡尔曼

Curator / Wang Yamin & Andrew Kalman

展览统筹 / 肖朗

Coordinator / Xiao Lang

策展助理 / 李沁灵，刘丹杨

Assistant curator / Lee Qinling & Liu Danyang

平面设计 / 张鑫

Graphic design / Zhang Xin

文字校对 / 刘丹杨，姚品卉

Proofreading / Liu Danyang & Yao Pinhui

01/02

FOREWORD

前言

一百年前，L. S. 洛瑞（1887 年—1976 年）在英格兰北部的曼彻斯特开始了他的艺术生涯。当时

L. S. Lowry (1887-1976) began his career as an artist in the city of Manchester

的曼彻斯特迎来了一场英国社会不可阻挡的大变迁。洛瑞和曼彻斯特城一起处在了英国工业迅猛

a hundred years ago. Manchester had at this time come to represent an

发展的中心。工业的突飞猛进，随之而来的是社会变革。城市里挤满了人，林立的厂房和烟囱将

irreversible change in Britain. It and so Lowry was at the heart of British

人们层层包围（《工厂景观》，1965，第 55 页）。这也正是中国与洛瑞作品之间的共鸣之处，

industrial growth and in turn came social change. This city environment was of

这也是在中国举办小型洛瑞作品回顾展的原因。中国是世界第一大工业国，也是世界经济发展最

course full of people like Lowry; surrounded by factories, mills and chimneys (Mill

迅速的国家之一，工业化、城市化、现代化席卷整个国家。这与大约一个世纪前洛瑞对英格兰北

Scene, 1965, P55). This is why the idea of making a small Lowry retrospective

部的那场工业变革的观察和记录有着高度相似性。

洛瑞对人们在这样的城市中的行为表现出了极大的兴趣。他既画过被大雨浇成落汤鸡还一步一滑走去工作的人（《穿风衣的男子》，1945，第 29 页），也画过拍卖行里嘈杂喧嚣的人群（《拍卖会》， 1957，第 41 页）。这是洛瑞的创作“食粮”。这就是洛瑞，一位属于人民的艺术家。

in China resonated. China’s evolution from economy rooted substantially in agriculture to one driven by the manufacture of products, quite often for export, mirrors changes Lowry observed and recorded in northern England nearly a century earlier. Lowry was fascinated by human behaviour within this cityscape, from the image of a rain-soaked man shuffling to work (Man in a Trenchcoat, 1945, P29) to the

这场小而精的展览汇集了洛瑞的油画与素描作品，它将首次把洛瑞——这位在英国深受喜爱的艺

noisy clamour of an auction house sale thronging with people (The Auction,

术家的作品展现在中国观众面前。我们希望中国观众可以结合自己在像南京这样一座繁华又匆忙

1957, P41). This was Lowry’s ‘food and drink’. This is Lowry, the artist of the

的都市中的那些愉悦或富有戏剧化的生活体验，对洛瑞的的作品产生共鸣。

people. This concise exhibition of paintings and drawings will present a flavour of this hugely popular artist’s work to a new audience in China, who will hopefully empathize with the joys and dramas of living in a great bustling city, such as Nanjing.

Wang Yamin / L. S. LOWRY (1887-1976) is one of the most important and famous British artists of the Twentieth

CURATORS ' STATEMENT

Century, yet he is still an artist who is barely recognised outside the UK. With nearly thirty oil paintings and works on paper selected carefully from British public and private collections, L. S. Lowry: Artist of the People is Lowry’s first solo museum show outside the UK. Following his widely acclaimed retrospective exhibition at Tate Britain in 2013, the collection of works at AMNUA will enable a new public to explore and value Lowry’s art—in Nanjing, China and hopefully beyond. We are proud to present this exhibition, with its events, to the public at this moment.

For more than 50 years, Lowry painted the life and society that surrounded him, in Manchester in Northern Britain. Images of ordinary people at work and play, amongst the mills and factories, parks and football pitches of his home-town. These honest observations, sometimes with harsh imagery of the industrial landscape but other times full of wit and humour, are today enjoyed and admired by the general British public.

But controversies are always raised within the “Art World” and so to an acceptance of Lowry. One of the key questions is the core value of Lowry’s art, the close relationship between art and the people. All of the sturdy things are vanished, all of the holy things are profaned; this declaration of Marx about Modernity by the approach of socialism plutonomy was also echoed in the Modern Art revolution since 19th century with its stress on the relationship between art and the people. But at the same time, the presence of the people in art was also often bleached. With Modernism, one of the key practices of contemporary art is the Political practice as Aesthetics practice; morality question is just aesthetic question. How art can serve the people becomes one of the knots in artists’ minds.

The main context of Lowry’s art was modern life against the backdrop of the British Industrial Revolution and its gradual decline. He was renowned for his industrial landscapes of the “Cotton Capital”, Manchester, with the everyday grassroots of life, witnessed in the streets and lanes of the city. Such depictions of contemporary life could exude an atmosphere of frustration and loneliness but with dignity and humour. We can see how the people bear the dilemma brought about by modern life: the deterioration of the living environment and the estrangement of people from society. In this sense, we would like to call Lowry’s art a kind of “heroism” among modernity (Baudelaire). Such heroism was particularly represented by Lowry personally. Lowry’s life and art practices were tied closely with common peoples. Insisting on being an artist of the people, Lowry showed us how a painter survived and even thrived. Lowry declared all his paintings were “self-portraits”—to respect the people is to respect the humankind (Goncourt).

Because the historical process of China with its reality of the moment, the social problems caused by

策展人语

the development, cornered dwelling of people, etc., this exhibition in Nanjing will provoke resonance and reflection. An artist as one of the people, how the people occupy ART, etc., all of these are also present important art proposition-for many fashionable contemporary art practices (Participation, Intervention and Public, etc.), the fineness of the people reflected in art is really a touchstone.

王亚敏 / L. S. 洛瑞（L. S. LOWRY, 1887-1976）是英国 20 世纪最重要和知名的现代艺术家之一，但却不为其他国家的人们们所熟知。此次展览汇聚的近三十幅洛瑞具有代表性的油画及纸本作品，均由我们精心挑选自英国重要的公共和私人收藏。《L. S. 洛瑞：艺术家·人民》是继 2013 年英国泰特美术馆的大型回顾展之后，洛瑞在英国本土以外的美术馆的首次个展。这次展览能够使来自南京、中国甚至更大范围的新观众有机会欣赏洛瑞的作品并了解它们的价值。所以，我们很荣幸在当下向公众推出该展览及相关活动。

50 多年来，洛瑞一直在英国北部城市曼彻斯特描绘他身边的生活与社会。他的作品描绘的都是在家乡的厂房中、公园里或足球场上工作和娱乐的普通人。这些忠于现实的观察，时而刻画工业社会生活的艰辛，时而充满风趣与幽默，在今天受到了英国公众的广泛喜爱和赞赏。

但是“艺术界”内部向来争议不断，洛瑞的作品也不能避免卷入论战。问题的关键之一是洛瑞艺术的核心价值：艺术和人民休戚相关。“一切坚固的东西都烟消云散了，一切神圣的东西都被亵渎了”，马克思这一社会政治经济学的现代性宣言，在 19 世纪中后期以来的现代艺术革命中亦不断被验证，艺术和人民的关系被不断强调。但是，与此同时，人民在艺术中存在也不断被漂白。现代主义之后，当代艺术的重要实践之一是政治美学化，道德问题就是美学问题，艺术能否和如何为人民服务成为艺术家的心结。

洛瑞创作的主要语境是英国工业革命以及社会逐步衰落背景下的现代性社会生活。他以表现“棉都” 曼彻斯特的工业风景，及其街头巷尾的草根生活著称。对现代性生活的这种描绘弥漫着沮丧和孤独的气氛，但不失尊严，甚至幽默。我们可以看到，人民是如何不断承受着现代性生活的带来的困境：环境破坏带来的恶果以及人被异化所带来的人与人、人与社会之间日益增长的隔膜。在此意义上，我们也愿意将洛瑞的艺术称为一种现代性生活中的“英雄主义”（波德莱尔）。这种英雄主义也尤其强烈地体现在洛瑞本人身上。洛瑞的生活和创作同大众息息相通。洛瑞坚持做一个属于人民大众的艺术家，他向我们展示了一个艺术家如何在人民中存在，并被人们爱戴。洛瑞宣称他创作的都是 “自画像”——因为对人民的尊重就是对人类的尊重（龚古尔）。

因为中国当下的历史进程及其现实，包括社会发展所带来的问题、人（与人）栖居的困境等等，洛瑞作品在南京的此次展览必将引发我们的共鸣和反思。 “艺术家作为人民的一员”， “人民如何拥有艺术” 等问题是当下流行的艺术实践中的重要命题（如参与、介入、公共性等等）。人民大众在艺术中的反映程度是一块真正的试金石。

Andrew Kalman, Crane Kalman Gallery, London, November 2014 Laurence Stephen Lowry (1887-1976) (commonly known as L. S. Lowry) was born in Manchester

‘modernity’–television, the telephone, a motor car (Lowry preferred to take taxis to his favourite

in northern England in 1887 and went on to become one of the UK's most famous, successful

destinations, a bit like me)–the ageing painter adopted a lighter feel, a brighter, broader range of

and popular artists. His paintings and drawings recorded the changing sights, scenery and

colours, gaiety even. He still painted great and complex scenes of public record, but these were

behaviour of British society, as it hurtled through the C.20th, all the way through to his death in

joyous, jubilant pictures, anticipating the nation’s increasingly expectant hope for a more stable,

1976, aged 89.

healthier and wealthier future.

Before and during the Second World War, Lowry’s subject-matter illustrated the hardships

My late father Andras Kalman (1919-2007), a Hungarian Jewish refugee arrived to the UK in

and strife of post-industrial (northern) Britain; existential images that mirrored the artist’s own

1939, aged 20. He opened his first gallery in Manchester 10 years later. Lowry visited in 1950

frustrations, working during the day as a rent collector, painting at night, while also caring for

and became a client, acquiring paintings by French artists from my fathers struggling business.

his ailing parents. His works painted in a darker palette and with a thicker, more heavily layered

Despite their many differences- age, nationality, background, behaviour and even height, they

paint surface, emphasize the travails of many of the artist’s fellow citizens. This is after all a

forged a close friendship.

society still coming to terms with near bankruptcy following the end of the First World War: a nascent but not fully enfranchised and restless Labour Movement; a fading Empire; and

My father moved his gallery to its current location in Knightsbridge, London in 1957, and

an embryonic ‘financial system’ that had just experienced a calamitous collapse, wreaking

although never Lowry's primary dealer, over many years sold 100's of works by the artist.

devastating economic instability and panic. This too is a country without the safety net of an NHS

The Gallery also made interesting and varied Lowry exhibitions and catalogues, all the while

or welfare–a class-ridden society, unsure whether it had truly emerged from nineteenth-century

agitating for British art institutions to promote Lowry's work overseas but unfortunately this never

Victorian Britain.

happened, either during the lifetime of Lowry or my fathers.

Lowry, although not in a parasitic way–far from it in fact, he was quite altruistic–thrived on such

This is why I am so pleased and proud to have assisted in the realisation of this small but special

desperation, or at least his body of work did. Much of his painted imagery took place in the

exhibition of Lowry's work at the Art Museum of Nanjing University of the Arts–the artists first

glare of the public gaze: witnessed by many but recorded by only one–Lowry. The clamour and

ever Museum exhibition outside of the UK. So thank you to all at AMNUA, particularly Professor

commotion of a fight, an accident, an arrest or such like, drew a crowd of onlookers who cared

Li Xiaoshan, Wang Yamin and also Burberry Asia Ltd., Willis and AXA insurance companies for

to take notice, just as a normal, soot-saturated Manchester day was chatted about and perhaps

their support and most of all to Xiao Lang, the Director of ARTouch Consulting,representative

then quickly ignored. Pre-war and in the early 1940s, this was Lowry’s visual palette–one he

of the AMNUA in London, whom I met at the Masterpiece Fair in London in 2013, and whose

committed to canvas with the honesty of a documentary cameraman: a genuine social historian.

infectious enthusiasm and encouragement sparked the exhibition into life.

After 1945, changes in society occurred with greater pace and so too did the artist’s work: retired from office job, his parents deceased, buoyed by art market success and growing popular acclaim, Lowry was rejuvenated. Although still forgoing many accoutrements of postwar

安德鲁·卡尔曼，于克莱恩·卡尔曼画廊，伦敦，2014 年 11 月译者：肖朗劳伦斯·斯蒂芬·洛瑞（俗作 L. S. 洛瑞）（1 8 8 7 年—19 7 6 年）出生于英格兰北部的曼彻斯

新焕发出活力。尽管他在生活上还是放弃了诸如电视机、电话机和汽车（洛瑞喜欢乘坐出租车

特。他是英国最有名、最成功并且最受欢迎的艺术家之一。他的油画和素描记录着英国不断变

去他常去的地方，这点和我很像）等战后现代化的新装备。在艺术创作上，有些上了年纪的洛

化着的社会自然和人文景观。英国社会的重大变迁贯穿了整个 2 0 世纪，而洛瑞这样的创作方

瑞开始营造一种更轻快的感觉，使用更为明亮和更多种类的色彩，欢快、均和。洛瑞依然描绘

式和题材也一直延续到 1 9 7 6 年，直到他离开人世（时年 8 9 岁）。

那些社会记录式的宏大复杂景象，但都是些充满了欢乐和喜庆的作品。这与英国当时对更加稳定、健康和富足的未来与日俱增的向往不谋而合。

二战前与战中期间，洛瑞描绘的主题展现了后工业时代的英国（北部）社会中生活的艰辛以及社会纷争；而那些对未来充满了隐忧画作则反映了艺术家本人的沮丧和坎坷生活。洛瑞白天不

我已故的父亲安德拉斯·卡尔曼（1 9 1 9 —2 0 0 7 ），在他 2 0 岁时以匈牙利的犹太难民身份于

得不出门为收租公司去收房租，只能晚上画画，而且还要照顾他生病的父母。他的很多作品色

1 9 3 9 年来到英国。1 0 年后，他在曼彻斯特开了他的第一家画廊。洛瑞于 1 9 5 0 年参观了画

调阴暗，并使用厚重的油彩和多层涂抹方式创作。他以这样的绘画方式突出同胞们的艰难生活。

廊并成为了画廊的客户。他在我父亲为画廊经营一筹莫展的时候，从他手上购买了一幅法国艺

一战的余波使得英国社会依然处在破产的边缘：新兴的、躁动的、尚未争取到权力的工人运动，

术家的作品。尽管洛瑞和我的父亲有很多不同，包括年龄、国籍、背景、行为方式甚至身高，

衰落的帝国，还有刚刚经历了毁灭性重创的“金融体系”萌芽，造成了英国严重的经济动荡和

但他们结下了深厚的友谊。

社会恐慌。这时的英国尚没有如今的全民医保或社会福利的庇护，完全是一个阶级当道的社会。很难说此时的英国是否已经真正从十九世纪维多利亚时代走上了崛起之路。

19 5 7 年，我父亲把画廊搬到其现今的所在地——伦敦骑士桥。虽然从来不是洛瑞的一级经销商，但多年来画廊已经交易了几百幅洛瑞的作品。画廊也举办了多场有趣的洛瑞展览，出版了丰富

洛瑞虽然为收租公司打工，但他绝不是那个困苦社会的寄生虫。事实上，他本人十分无私。但

多样的画册，并一直在鼓动英国艺术机构向海外推广洛瑞的作品。但非常遗憾，这在洛瑞和我

洛瑞的作品却是和那个充满绝望和困顿的社会相依相存的，甚至“得益于”这样的社会。他绘

父亲的有生之年从未发生过。

画的大量景象都发生在公众视野之下，只不过众人见过且过，唯有洛瑞记录了下来。伴随打架斗殴、意外或是警察逮捕而来的喧嚣和骚动常常会招惹来人群的围观，但这只不过是平常无奇

不过也正因为如此，能够协助实现洛瑞作品在中国南京艺术学院美术馆的展出，我感到十分的

又煤烟缭绕的曼彻斯特普通一天，顶多算个谈资，很快就被遗忘。二战前及 4 0 年代初期，这

开心和荣幸。这个展览虽然规模不大，但意义非凡，因为这是洛瑞第一次在英国以外的美术馆

些内容就是洛瑞的视像调色板上的油彩，他一心要以纪录片摄影师一般的忠诚将所见的内容如

举办展览。因此，我要感谢南京艺术学院美术馆（AMNUA）的全体工作人员，特别是馆长李

实地反映在画布之上。洛瑞，一个真正的社会历史学家。

小山先生，联合策展人王亚敏先生，博柏利亚洲有限公司（Burberry Asia Ltd.），韦莱保险经纪有限公司（Willis）以及安盛天平财产保险股份有限公司（AXA）。尤其要感谢的是南京艺

1 9 4 5 年以后，艺术家的作品随着社会变迁发生了很大变化。洛瑞从办公室的工作中退休、经

术学院美术馆在英国合作项目代表，艺触咨询总监肖朗女士。我和她相识于 2 0 13 年的伦敦大

历了双亲的过世，同时也因为作品在艺术市场中大获成功和日益增长的名声而倍受鼓舞。他重

师艺术博览会，她的富有感染力的热情和鼓励才使得这个展览最终得以实现。

作品

PLATES

15/16

老年男子头像 Head of an Old Man 木板油彩 Oil on board 1915 39 x 30 cm 私人收藏（鸣谢英国克莱恩·卡尔曼画廊） Private Collection, c/o Crane Kalman Gallery Private Collection, c/o Crane Kalman Gallery Ltd. All rights reserved DACS 2014.

17/18

这是一幅非常强烈、近乎表现主义或日耳曼绘画的作品。我们无从得知画中的男子是否真实存在，也许这是基于几个不同个体的一种创作。画得是否像，相比作品本身而言都已经不重要了。这就是一个需要取悦客户的肖像画家与像梵高一样的艺术家之间的区别。洛瑞属于后者。

A very strong almost expressionist or Germanic painting. It's not known if this man existed or whether it’s based on several different individuals. Either way the resemblance to the sitter doesn’t matter so much as the painting itself. That’s the difference between a professional portrait painter who has to please his client, and an artist like van Gogh. And it’s the same with Lowry.

老年男子头像 ( 局部 ) Head of an Old Man (Details)

19/20

男子头像 Head of a Man 纸本铅笔 Pencil on paper 1920 20 x 20 cm Private Collection, c/o Crane Kalman Gallery 私人收藏（鸣谢英国克莱恩·卡尔曼画廊） Private Collection, c/o Crane Kalman Gallery Ltd. All rights reserved DACS 2014.

２１／２２

洛瑞创作过这幅作品后不久，教堂就被拆除了。他父亲此前曾两次提醒他留意这座教堂（洛瑞曾说，这是他父亲唯一一次对他的作品主题表现出兴趣）。洛瑞描绘过很多座教堂，它们都十分安静，以自然的状态呈现在人们面前。教堂前往来的人群与教堂中部高耸的阴暗建筑形成对比。请留意观察教堂的孤寂与黑暗。（20 世纪）20 年代少有人会去清洁教堂上面的石头，甚至想都不会想到。洛瑞虽不是一个常去教堂的人，但只要有奇特的教堂，即便在不寻常的地方，他也一定会拜访。

This church was demolished soon after Lowry drew it, which was after his father had twice drawn his attention to it. (He used to say it was the only time his father showed any interest in the subject of one of his paintings.) Lowry painted a number of churches. They were wonderfully still and naturally-presented compositions. The people who walk round the church here are in such contrast to the dark brooding central mass of the church. Notice the solitariness of the church, the blackness of it. No one in the twenties had the money to clean the stone or even thought about it. Lowry was not a churchgoing person, but one thing is certain, if there was a strange—looking church in an unusual position he would find it.

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这幅作品体现了洛瑞的另外一面。乐队可能正在演奏，人群中的孩子十分愉快。这幅作品非常精心细致，蕴含了无限的欢愉，即便这样的欢乐气氛在世上十分少见。要知道，这可不是皇家雅士谷赛马，温网或亨利皇家赛舟会，这是曼彻斯特。这是一幅技术上完成度极高的作品。在后来的生活中，他很少有耐心这样创作了。画作彻底完成，扎实深稳。毫无疑问，它是一幅用于参展的作品。它的高视角表明艺术家是在皇家技术学院的窗口俯视创作的。

This is the other side of Lowry. Probably the band is playing, and the children in the crowd are happy. Although the painting is elaborate and sophisticated it infers a jollification which was very much a part of that world on occasion. It’s not Ascot or Wimbledon or Henley regatta, it is there—Manchester. It is a technically accomplished painting which later on in life he rarely had the patience to do. It’s completely finished, very solid and very dense, and there’s no doubt it was intended for exhibition. The high viewpoint indicates that it was made from a window of the Royal Technical College, looking down on the scene.

25/26

这片荒芜地比其他被遗弃的地方显得更加苍凉，好在孩子们还能在一小片空地上快乐地玩耍。当然，那些造就了曼彻斯特和财富的标志性建筑也都在——后工业革命时代中无处不在的厂房和烟囱、成排的房子以及教堂。一天的辛劳换来一天的薪水——劳动、勤奋、尊严和感恩。洛瑞滴酒不沾，所以他很少去酒馆，因此我们也不会在他的画作中看到酒馆里面的样子，但我们却可以看到酒馆外的街道和荒弃地。他画作中的主要元素都彼此交织，比如大门和围栏、教堂、烟囱、台阶、以及它们与曲线构成的空间感。这是一幅非常独特的作品，上面还有洛瑞的手印和笔迹。

This is an area that has sunk even further than others which are derelict: there’s not much further down than this. But the children are happy, they’ve got a bit of ground to play on, and those things that created Manchester and its wealth—the post industrial revolution, symbolized by the ever-present factories, chimney-mills, back to backs (terraced houses) and churches are here. Labour, diligence, respectability, thankfulness—an honest day’s pay, for an honest day’s work. As Lowry was a teetotaller, he didn’t go into pubs much, so we don’t have the interiors of pubs in his pictures. We have instead the streets and the wastegrounds in between. They’re all so remarkably interwoven, the main elements of his pictures—the gates and fences, the church, the chimneys, the stairs, the sense of space between them and the curves. A marvelously unique painting though with Lowry’s recognizable artistic fingerprint and handwriting.

27/28

比起洛瑞创作的大多数人物来说，画中人物看起来显得有些“不羁”。他或许是一位艺术家、记者或者作家，甚至可能是一位艺术经销商。他戴的是毡帽，而不是工人戴的“平顶帽”，他把风衣领子竖了起来，这说明他有很强的自我意识。他行色匆匆，可能是去赴约而不是长途跋涉去上班。洛瑞喜欢描绘那些看起来有些不寻常、但能抓住他眼球的人。

This figure seems a little more 'bohemian' than most of Lowry's 'characters'. Perhaps another artist, a journalist or writer, maybe even an art-dealer. The trilby hat, rather than a worker's 'flat cap' and the trench collar up, suggest someone a little more independently minded, in a rush to his next appointment, rather than the daily trudge to work. Lowry was attracted to draw and paint anybody who looked a little different, who caught his eye.

穿风衣的男子 Man in a Trenchcoat 纸本铅笔 Pencil on paper 1945 22.5 x 12.5 cm 私人收藏（鸣谢英国克莱恩·卡尔曼画廊） Private Collection, c/o Crane Kalman Gallery Private Collection, c/o Crane Kalman Gallery Ltd. All rights reserved DACS 2014.

29/30

莫顿沼泽城 Moreton in Marsh 布面油彩 Oil on canvas 1947 46 x 56 cm 私人收藏（鸣谢英国克莱恩·卡尔曼画廊） Private Collection, c/o Crane Kalman Gallery Private Collection, c/o Crane Kalman Gallery Ltd. All rights reserved DACS 2014.

３１／３２

这是洛瑞创作的一系列关于那些不为人知又让人难以忘怀的英格兰乡村美景的画作中的一幅。对于这样的景色，洛瑞是非常熟知的。很少有作家或画家会如此深入地走访乡村，亲自去探寻那些他们曾听说又很想去的地方。洛瑞此时开始使用新的色彩——多种不同的绿色都由艺术家精心挑选。这是一幅非常复杂的风景作品。与其他风景类作品不同，画中山丘起伏的曲线甚至包含了性的暗示。

One of a series of beautiful paintings in which Lowry began to see a strange haunting beauty in the English countryside, which he knew inside out. There are very few writers or painters who have travelled the country so thoroughly and particularly visited those unexpected places that he heard of and then wanted to see. He began to use new colours—the greens are carefully chosen and varied. A wonderfully complicated landscape, unlike almost any other landscape—there is even something erotic about these swelling hills.

33/34

很少有 20 世纪的英国或法国艺术家试图重新表现海的样子。这是寒冷空旷而骇人的北海。从没有被画出来的海岸望去，除了波浪什么也没有。它也美得令人难以置信，洛瑞画了大约十个版本。洛瑞创作了几幅这种有着牛奶般颜色的海洋。空寂、深沉又安宁——甚至有点死亡的气息。这些作品正好反映了洛瑞的性格和灵魂中的另外一面，这与他通常创作的熙熙攘攘的闹市景观和工业全景形成了反差和对比。这类创作使洛瑞平静，获得安慰。

There is hardly anybody in 20th century English art, nor among the great French artists, who has even begun to re-state what the sea looks like. This is the cold frightening empty North Sea, seen from an unpicturesque shore, with nothing in it but waves. Lowry painted several versions of these 'milk' seas. Empty, still, contemplative, peaceful—even somewhat deathly. They also represent an element of Lowry's character and soul and a counter balance to the hectic, busy, bustling cityscapes and industrial panoramas that he is more regularly associated with. They are becalming and becalmed him.

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３７／３８

这是洛瑞作品中常见的年轻女子形象，也许有些理想化，不过一贯地起名叫做“安”。他所有作品里的女孩子们都有同样的特征：编起来的长辫子，苍白的皮肤，大眼睛，还有令人想要亲吻的双唇。这幅画再次证明了洛瑞的执念：一旦他看到自己喜欢的面庞或者某种人，这些的形象就会萦绕在他脑海里甚至将他俘获。当问到谁是“安”时，洛瑞往往含糊其辞。这可能是洛瑞（领养的）继承人（洛瑞从未结婚，没有自己的孩子），或者他的干女儿，亦或是一个类似于洛瑞母亲或者他收藏的前拉斐尔画派作品中美丽女子的形象。

One of Lowry’s frequent portrait subjects was of a young girl, maybe somewhat idealised but invariably titled Ann. All these girls have similar featuresthe long dark braided hair, pale skin, big eyes and kissable lips. These pictures reaffirm Lowry's obsessiveness. Once he had seen a face or a type that he liked, it beguiled, even haunted him. When asked, who was Ann? Lowry obfuscated. It could have been his (adopted) heiress (Lowry never married and had no children of his own), or his god-daughter, or again a generic, female type of face one can trace back to his mother and even the beautiful women in preRaphaelite paintings, which Lowry collected.

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拍卖会 ( 局部 ) The Auction (Details)

41/42

洛瑞常说他很乐意做一个闲云野鹤般的人。他滴酒不沾，所以我们不能说这幅画是他小酌几杯之后创作出的幻想中的自己。他只喝水和茶，或者在某些特殊的时候喝自己最喜欢的橙汁饮料。公文包上有他名字的缩写，所以那一定是在暗示自己的身份。这幅画显示了艺术家善意的幽默感和对荒诞事物的敏感，同时也体现出他本人颇为孤独的生命状态。洛瑞常说这幅画是基于他的观察创作出来的：“那是炎热夏日的一天，我所坐的巴士突然经过了一个躺在墙上的男子，就像你在画里看到的这样。”

Lowry often said that he would love to be idle. Because he was a teetotaller, one can’t say that after a few drinks he made this as a fantasy picture of himself. He would only drink water or tea, or orange squash on special occasions-his favorite tipple. The briefcase has his initials on it, so there must be some selfidentification. This image illustrates the artist’s gentle sense of humour and 'eye for the absurd' but also suggests Lowry's relatively solitary existence. Lowry always said it was based on observation: ‘It was a hot summer day, and I was sitting on a bus when we suddenly passed the man on the wall, just as you see him in my painting.’

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萨尔福德街景 Salford Street Scene 木板油彩 Oil on board 1959 28 x 38 cm 私人收藏（鸣谢英国克莱恩·卡尔曼画廊） Private Collection, c/o Crane Kalman Gallery Private Collection, c/o Crane Kalman Gallery Ltd. All rights reserved DACS 2014.

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萨尔福德街景（局部） Salford Street Scene (Details)

47/48

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51/52

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无论是劳特雷克、毕加索还是布拉克，作品主题重复是常有的事。洛瑞的作品也是如此。他可以再创作一幅他早已熟悉的工厂景观，但效果却截然不同。他有时确实会重复自己，但新作品总有足够多的不同之处使其成为一幅独立的作品。在他的画中，你可以看到带着后院儿小厕所的房子，还有那种用来描绘工人阶级居住环境的标志性色彩；你也可以看到清洁台阶和窗台的女人。后辈人会逐渐发现洛瑞所描绘的这些令人难以置信的场景已经一去不复返了。现在的有些厂房造得富丽堂皇，堪比豪宅。洛瑞身边的人都是些孩子和推着婴儿车的妇女，如果他去描绘曼彻斯特的上流社会才是言不由衷的表现。

You could say about Lautrec, Picasso, Braque that they return to the same theme, and it’s not considered at all unusual, because their paintings are spread all over the world. It’s the same with Lowry. He might make another version of an already familiar mill scene, but often it’s totally different. Sometimes he did repeat himself, but there’s still enough difference to make each picture individual. In his painting, you see the houses with their little privies (toilets) in the back gardens, and their typical and emotive colours of working class dwellings. You might see a woman cleaning the steps and the windowsill. It was a sign of respectability, like a man wearing shiny shoes. Future generations will realize that these incredible scenes have now gone forever. Sometimes the mills had a grandeur which almost tried to imitate stately homes. And you might say that Lowry, living where he lived, surrounded by children and women with prams, would have been insincere if he had painted the posher areas of Manchester.

工厂景观（局部） Mill Scene (Details)

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无题 ( 穿迷你裙的女孩 ) ( 局部 ) Untitled, Girl in a Mini Skirt (Details)

５７／５８

59/60

61/62

６３／６４

开会的人们（局部） Men at a Meeting (Details)

65/66

画面由有趣的弯曲的街道构成，显示出城乡交界处正在被扩张的都市所侵蚀。洛瑞经常由他的朋友兼赞助人阿莱克·莱格特开车载着拜访这块“穷乡僻壤” （洛瑞从来没学过开车，所以他自己也没有车）。这片郊区的居民曾是洛瑞画中奔波于上下班路上来去匆匆身影，而现在他们已经变得更悠闲和独立——有的在游玩，有的在休息——不过他们仍是那忙碌社区中的一部分。

This composition, with its interesting, curving street, represents the area of land between the heart of the city and the countryside, gradually being encroached upon by the urban sprawl. Lowry often made visits to this 'hinterland', driven there by his friend and patron Alec Leggat (Lowry never leant to drive and so never owned a car). These suburbs are where the figures rushing to and from work in his busy panoramas are now transformed into more leisurely, independent people—at play or at rest, yet still part of a bustling community.

上升的街道 Rising Street 木板油彩 Oil on canvas 年代不明 Undated 64.8 x 75 cm 私人收藏 ( 鸣谢英国克莱恩·卡尔曼画廊 ) Private Collection, c/o Crane Kalman Gallery Private Collection, c/o Crane Kalman Gallery Ltd. All rights reserved DACS 2014.

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上台阶的孩子（局部） Children Walking up the Stairs (Details)

73/74

洛瑞与奥斯卡影帝理查德·阿滕伯勒男爵于 1967 年在克莱恩·卡尔曼画廊的合影 (Lowry talking with Lord Richard Attenborough at Crane Kalman Gallery in 1967)

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劳伦斯·史蒂芬·洛瑞：年表

劳伦斯·史蒂芬·洛瑞 Laurence Stephen Lowry

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LAURENCE STEPHEN LOWRY: CHRONOLOGY

1887

Born 1 November at Barrett Street, Manchester, the only child of Robert and Elizabeth Lowry

1887

1895-1903

Educated at Victoria Park School, Manchester. On leaving attends private painting lessons with the artist Reginald Barber, having failed to secure a place as a full-time student at Manchester Municipal College of Art

1895-1903 在曼彻斯特维多利亚帕克学校接受教育，毕业前参与艺术家雷金纳德·巴伯的私人美术课程，但没有成为曼彻斯特城市艺术学院的全日制学生

1904-07

Works as a clerk for Thomas Aldred and Son (Chartered Accountants)

1904-07 在托马斯·爱瑞德家族注册会计师事务所做职员

1905-15

Attends evening classes at the Municipal College of Art under French Impressionist painter Adolphe Valette

1905-15 在城市艺术大学参加夜间课程，受教于法国印象主义画家阿道夫·瓦莱特

1909

Moves with his parents to 117 Station Road, Pendlebury, Swinton

1909

和父母搬家到斯文顿彭的德尔伯里，车站路 117 号

1910

Begins employment as a rent collector and clerk with Pall Mall Property Company Ltd., Manchester

1910

作为收租人受雇于曼彻斯特波尔摩尔房地产有限公司

1915-25

Attends evening classes in drawing and painting at the Salford School of Art, taught by artist and critic Bernard D Taylor

1915-25 在萨尔福德艺术学院参加夜间课程，受教于艺术家和评论家伯纳德·D·泰勒

1918

Accepted as a student for the life class at Manchester Academy of Fine Arts

1918

被曼彻斯特美术学院录取

1925

Participates in Manchester Society of Modern Painters exhibition at 33 Blackfriars Street , Manchester

1925

参加位于曼彻斯特黑衣修士路 33 号的曼彻斯特当代画家协会举办的现代画家艺术展览

1926-30

Pictures exhibited in Manchester, in Japan and at the Paris Salon d'Automne

1926-30 作品在曼彻斯特、日本以及巴黎秋季艺术沙龙展出

1930

An Accident is bought by the City Art Gallery, Manchester, the first Lowry to be acquired directly for a public collection

1930

《一次意外》被曼彻斯特城市美术馆购买，这是洛瑞的作品第一次由公共机构收藏

1932

Robert Lowry dies suddenly, leaving behind considerable debts. Lowry's work is exhibited at the Royal Academy in London for the first time

1932

罗伯特·洛瑞突然去世，留下巨额债务。洛瑞的作品第一次在伦敦的皇家美术学院展览

1934

被选举为曼彻斯特学会成员，以及英国皇家艺术家协会成员

1934

Elected a member of the Manchester Academy as well as the Royal Society of British Artists 1938

伦敦勒费夫尔画廊的 A. J. 麦克尼尔·瑞德发现了洛瑞。他偶然在伦敦装裱商詹姆士·布尔莱特家族商店里，看到了洛瑞的画作

1939

洛瑞母亲过世。第一次个展在勒费夫尔美术馆展出。直到 1976 年，洛瑞在勒费夫尔画廊都常有展出

1938

Lowry's work discovered by A. J. McNeil Reid of the Lefevre Gallery, London. He chanced upon some of Lowry's paintings at James Bourlet and Sons, Ltd., Picture Framers, London

1939

Death of Lowry's mother. First one-man exhibition at the Lefevre Gallery, where he would exhibit frequently until 1976

1940-50

As his popularity increases, Lowry is offered a number of one-man exhibitions throughout the 1940s and 50s

11 月 1 日出生于曼彻斯特巴雷特街，是罗伯特与伊丽莎白·洛瑞的独子

1940-50 随着人气增长，在 20 世纪 40 至 50 年代期间，洛瑞获邀举行多次个展

79/80

1943

The War Arts Advisory Committee appoints Lowry as an official war artist

1943

战争艺术顾问委员会任命洛瑞为官方战争艺术家

1952

Retires from the Pall Mall Property Company after working as a rent collector and clerk for forty-two years. First exhibition at the Crane Gallery, Manchester, the first commercial gallery outside of London to show Lowry’s work

1952

作为收租人和职员工作 42 年，洛瑞从波尔摩尔房地产公司退休。在曼彻斯特的克莱恩画廊举办了第一个展览。克莱恩画廊是伦敦以外展览洛瑞作品的第一个商业画廊

1955

Elected Associate of the Royal Academy of Arts

1955

被选为皇家美术学院副院士

1958

The Lowry Gallery, a permanent display of the artist’s work, established at City of Salford Art Gallery

1958

萨尔福德市建立了洛瑞中心以永久展示这位艺术家的作品

1962

Becomes a Royal Academician

1962

成为皇家艺术院院士

1964

At Monks Hall museum, Eccles, an exhibition in Lowry’s honour is organised featuring a number of prominent contemporary artists including Henry Moore, Ben Nicholson, William Coldstream and Hitchens. The Halle Orchestra gave a special concert on the occasion of Lowry’s 77th Birthday

1964

艾克勒斯的曼克·霍尔画廊举办了一个为纪念洛瑞的的展览。作品囊括了众多杰出的当代艺术家，包括亨利·摩尔、本·尼克尔森、威廉·科德斯特里姆和伊冯·希钦斯。哈勒管弦乐团为洛瑞的 77 岁大寿献上专场音乐会

1966

Touring retrospective exhibition of Lowry’s work is organised and curated by the Arts Council

1966

英国艺术委员会组织策划了回顾洛瑞作品的巡回展览

1968

The Loneliness of L. S. Lowry exhibition, curated by Andras Kalman, takes place at Crane Kalman Gallery, London

1968

安德拉斯·卡尔曼于克莱恩·卡尔曼画廊策划了“洛瑞的孤寂”一展

1976

23 February: Lowry dies at Woods Hospital , Glossop, from pneumonia , having suffered a stroke a few months earlier. Later in the year many memorial exhibitions take place across the country, including a comprehensive retrospective exhibition at the Royal Academy, London.

1976

洛瑞因几个月前的肺炎导致中风，于 2 月 2 3 日在格罗索普的伍兹医院病逝。同年年末，英国全国各地举办了许多缅怀这位艺术家的展览，其中包括在英国伦敦皇家研究院举办的一场大型综合回顾展览

2000

Lowry City, A Painter and his locale, Judith Sandling and Mike Leber, Lowry Press

2000 由朱迪斯·桑德琳和麦克·雷柏撰写的《洛瑞的城市——画家与他的环境》由洛瑞出版社出版

2003

L. S. Lowry, Conversation Pieces, Andras Kalman and Andrew Lambirth, Chaucer Press, London

2003 《L. S. 洛瑞：安德拉斯·卡尔曼与安德鲁·兰博斯对话集》由乔叟出版社出版

2010

"The Loneliness of L.S.Lowry", Abbot Hall Art Gallery, Kendal, Jul-Oct 2010 and Crane Kalman Gallery, London, Nov-Dec 2010

2010 “洛瑞的孤寂一展分别在 6-10 月和 11-12 月于阿伯特艺术画廊和克莱恩·卡尔曼画廊展出

2010

"L. S. Lowry-The Art and the Artist", by Tom Rosenthal, published by Unicorn Press, Norwich, UK

2010 由汤姆·罗森豪撰写的《L. S. 洛瑞：艺术与艺术家》由独角兽出版社出版

2011

Christies, London, Nov 16th, "Piccadilly Circus", 1960, an oil painting by Lowry, owned by the famous businessman and Lowry collector, Lord Charles Forte, sells at auction for a new record price of £5,641,250

2011 伦敦佳士得拍卖行于 11 月 16 日将曾经被知名的商人、洛瑞作品收藏者查尔斯·福特公爵拥有的洛瑞代表作《皮卡德利广场》（19 60 年），以约 564 万英镑的价格拍出，打破纪录

2011-2012

"Lowry", Djanogly Art Gallery, University of Nottingham, Nov 2011–Feb 2012

2011-2012 " 洛瑞 " 展于 2011 年 11 月至次年 2 月在英国诺丁汉大学嘉诺格里美术馆举行

2013

"Lowry and the Painting of Modern Life", T. J. Clark and Anne M. Wagner, Tate Britain, London

2013 由 T. J. 克拉克和安·瓦格纳策展的“洛瑞与现代生活绘画展”在伦敦泰特不列颠美术馆举行

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主办 / 南京艺术学院美术馆协办 / 克莱恩·卡尔曼画廊（英），艺触咨询（英）英国总领事馆文化教育处合作 / 萨尔福市政府 ( 英），洛瑞中心（英）赞助 / 韦莱（全球保险经纪人与风险顾问）安盛艺术品保险

Organizer / Art Museum of Nanjing University of the Arts Co-organizer / Crane Kalman Gallery (UK) ARTouch Consulting (UK) Cultural and Education Section of the British Consulate-General Supported by / The Lowry (UK)，Salford City Council (UK) Sponsors / Willis (Global Insurance Broker and Risk Adviser), AXA