Norton Simon Museum
Pasadena, CA

藍色四杰 The Blue Four: Feininger, Jawlensky, Kandinsky and Klee.

Jawlensky.
在 Variation 的系列前眷顧良久。

Klee 的 Aquarium: 錯亂透視的房間﹔Ferninger 的蝕刻﹔拖著長長直線的船、浪、雲端。Kandinsky 在最末的房間，我隔門望過去看到他那幅水彩的 Deluge I，許多年裡看得熟記於胸的那張畫，腦海裡已經成為代替了他名字的符號，剎那在眼前出現，仿佛愕然在現實中碰到夢裡的陌生人。

看過藏品去博物館專店找喜愛作品的卡片和書。看到它們卻涼透了心。折回展品面前再看，依然有血有肉有風有骨，和乾巴巴印在會反光的卡片上的完全不同。原作怎麼那麼奇妙？豐富飽和的色彩，紙張年舊了的痕跡，texture of the paper，strokes，顏色間互洇染的過渡，尺寸。展廳的燈光，背景中的聲音，白牆，畫與畫的排列。色彩產生線條畫不可同日而語的強烈感情。

In his biography of Goya, Robert Hughes makes the point that the Spanish artist’s only access to the work of Rembrandt was through prints. He goes on to write of those prints. “They are not mere records or reproductions of paintings but fully achieved works of art in their own right, and scrutinizing them must have made clear to Goya how rich the print media could be as independent, not merely reproductive, forms of expression.”

Given our tendency to equate the past with authenticity, this is a startling notion. And today, with art books, postcards, web sites, videos and DVDs all multiplying the amount of reproduction available to us, it may still be startling. The reaction to this modern convenience is, predictably, a focus on purity, an insistence that art can only be experienced in its intended form. Just as there are people who insist that a DVD is never an acceptable way to see a movie (ignoring that, depending on where they live, DVDs are the only access some people have to a variety of movies), there are those who say a work of art must be seen in person tobe aprreciated. There’s some truth to that. Many movies require a bigness that only the screen can convey, and the size of a Jackson Pollock or of Monet’s water lilies is lost in reproduction.

- Charles Taylor, Poetic Gestures