毕加索长女玛雅·维德迈尔-毕加索 | 经济学人讣告
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Through a child's eyes
以孩子的眼睛（看世界）
Maya Widmaier-Picasso
玛雅·维德迈尔-毕加索
Through a child's eyes
以孩子的眼睛（看世界）
Maya Widmaier-Picasso, the artist's elder daughter, died on December 2oth, aged 87
毕加索长女玛雅·维德迈尔-毕加索于2022年12月20日去世，享年87岁
Two weeks after the liberation of Paris in 1944, Maya Picasso, then nine, made her way to her father’s studio. Such visits were precious, because the family was complicated. Her father did not live with her and her mother, Marie-Thérèse Walter, but was still married to Olga Khokhlova. Maya and Marie-Thérèse were his secret family, though for a while they lived in a flat almost directly opposite his. Her father was also seeing a woman called Dora Maar, whom Maya did not like. She had met Dora only once, in that very studio, standing beside her father’s “Guernica”, with its tangled bodies and that terrified horse’s head, and she had begun to cry. Her father painted the two women fighting over him, black and white doves in a cage. He was happy, even delighted, with the way things were. Maya minded more; but she also knew she was his boquerona, his “little anchovy”, the joy of his life.
1944年，巴黎解放，两周后，9岁的玛雅·毕加索前往父亲的画室。玛雅不能常来，因为家里关系很复杂。父亲没有跟自己和母亲玛丽-特蕾莎·沃特住在一起，当时父亲和奥尔加·霍赫洛娃还没离婚。毕加索没有公开和母女二人的关系，尽管有一段时间她们住的公寓几乎和毕加索门对门。当时毕加索还与朵拉·玛尔私会，玛雅不喜欢这个女人，只见过她一面，就在父亲的画室里：当时，玛雅身旁是父亲的《格尔尼卡》，还有画中缠结的身体，那个惊恐的马头，然后哭了起来。父亲用画笔描绘两个为他争风吃醋的女人，画的是囚一笼的黑白两只鸽子（朵拉和玛丽）。父亲对这样的状况很是满意，甚至乐在其中；而玛雅比较忧虑，但她也知道自己是父亲boquerona——他的“小鳀鱼”，一生的快乐源泉。
In most weeks they saw each other. He would collect her from school and they would walk along the Seine, picking up pebbles that he made into little dolls. (He also made her characters of cloth or paper, with chickpea heads, and origami birds from exhibition invitations.) He took her to cafés to hear jazz bands. The greatest fun, though, was to go to his studio and watch him paint. Almost no one else was allowed to. But there she would sit for hours as he approached the canvas like a dancer, on tiptoe, applied the brush (the inevitable cigarette jammed in his mouth), then danced away again to judge from a distance what he needed to do next. On that first visit after the liberation they sat and painted together, and he hung their pictures up to dry on the studio clothesline: Maya’s, Picasso’s, daughter’s, father’s, as if their value was equal.
玛雅和父亲几乎每周都见面。父亲会去学校接她，然后父女俩沿着塞纳河边走边捡鹅卵石。父亲会把捡到的石头做成小娃娃，(还会制作玛雅形象的小玩偶，布或纸做身体，鹰嘴豆做脑袋，或用展览邀请函做小鸟折纸）。父亲还会带她去咖啡馆听爵士乐队演奏。不过，最大的趣事还是去画室看父亲画画。毕加索几乎不让人进入他的画室。但她却会在画室里坐上好几个小时，看着父亲像舞蹈家一样踮起脚尖走向画布，开始作画（香烟总不离口），然后又踏着舞步退到远处审视作品，思考接下来怎么画。巴黎解放后，玛雅第一次来到父亲的画室，父女二人坐在一起画画，然后毕加索把作品都挂在画室的晾衣绳上晾干：玛雅的画、毕加索的画、女儿的画、父亲的画；在这一刻，它们仿佛都拥有了同等的价值。
From her father she learned what it meant to live, all the time, with the urge to create. It was sometimes exasperating. At supper he would suddenly tell her not to move or change her expression, and would dash off to find paper, pencil, notebook, anything to catch that pose and look. Those seconds, while he caught them, seemed to last for ever. He drew her once with a napkin round her neck and sent the picture to an exhibition. She blushed to think what people would say. At times she dared not admit her father’s strange occupation, and said he was a housepainter.
从父亲身上，她了解到何为创作冲动不断的生活。这种生活有时会让旁人恼火。吃晚饭时，父亲会突然让她保持某个姿势或表情不动，然后迅速找来纸、铅笔、笔记本——任何能够捕捉那个姿势和表情的东西。父亲作画的这几秒钟对她来说却无比漫长。有一次，父亲把她脖子上挂着餐巾的样子画了下来，还把画送去展出。想到人们会对她品头论足，她就脸红。有时，她不敢承认父亲是个奇怪的画家，只说他是个油漆工。
But it was faces that intrigued him. First her mother’s, cool, pale and beautiful, seen one day in 1927 outside a Metro station; then her own chubby baby one. She too was his muse, drawn or painted more than any of his other children and as much as any of his mistresses. On the snowy day when she took her first steps he drew her in tender pastel, and kept the little pink boots she was wearing for the rest of his life. He sketched her in a woolly hat, with a cloth doll in her hair, or sitting moodily at a table. In any of these drawings she could recognise herself. In his paintings, though, her limbs atrophied, or stuck out at odd angles. Her eyes slid down her face, her plaits stiffened and her skin acquired strange colours.She held up a green net, and gaped with all her teeth when a red butterfly flew into it. The name “Picasso” was on her sailor’s hat, as though her father owned her. And in a way he did. Apart from her mother’s blonde hair and blue eyes, she looked extraordinarily like him. Picasso was also painting himself in this small disjointed figure, sitting solemnly with her toys.
但父亲使父亲着迷的还是各种的面孔。起初是她妈妈孤傲、苍白而美丽的面庞；1927年的一天，父亲在地铁站外邂逅了这张脸，便为之着迷。后来，玛雅胖乎乎的婴儿小脸也让父亲兴趣颇浓。玛雅也是父亲的灵感源泉，是父亲画得最多的孩子，父亲给玛雅作的画不比他任何一任情妇少。玛雅学会走路是在那个雪天，父亲用柔和的彩色粉笔把女儿蹒跚学步的样子画了下来，并一直保留着她当时穿的粉色小靴子。父亲画过她戴着毛线帽、头发上夹着一个布娃娃的样子，也画过她坐在桌前发脾气的样子。尽管自己在父亲的画中四肢萎缩、或以奇怪的角度伸出，眼睛耷拉在脸上，辫子质感很硬，皮肤也呈现奇怪的颜色，但她一眼就能认出那是自己。有一幅画中，她手举一张绿色的网；一只红色的蝴蝶扑棱进网里，她（激动得）张大嘴巴，露出满口的牙。她的水手帽上写着“毕加索”的大名，好像她归父亲所有。然而从某种程度上来说，父亲确实拥有玛雅。除了和母亲一样金发碧眼，她和父亲就像一个模子刻出来似的。毕加索也曾把自己画成一个小小的肢体分离的形象，一脸严肃地坐在女儿的玩具旁。
Their relationship, though, was not one-way. Maya’s arrival in 1935 had suddenly revived him, after a lull of years. Her official name, María de la Concepción, was his idea, after a sister who had died when he was 14. She replaced that loss, and when she stopped moving after her birth he splashed water on her, urgently, to shock and baptise her. As she grew, and especially as she began to draw, he watched her keenly, teaching her but also learning how to see with a child’s eyes. He made her colouring books, and filled with his work alongside hers as they sat together in the kitchen, the only warm place in the flat. It had taken him four years, he said, to paint like Raphael; it would take a lifetime to paint like a child.
不过，玛雅和父亲的关系绝不是单向的。1935年，玛雅出生，让沉寂多年的毕加索突然重焕活力。父亲14岁那年，妹妹去世。而玛雅的到来抚平了父亲的伤痛，为了纪念妹妹，父亲给玛雅取了和妹妹一样的全名——玛丽亚·德·拉·康塞普西翁（María de la Concepción）。父亲见玛雅出生后一动不动，赶紧朝她泼水，把她吓一激灵，顺便让她受洗。玛雅成长过程中，尤其是她开始画画时，父亲便热切地关注她、教导她，同时也学着用孩子的眼光看事物。父亲为玛雅制作涂色书，和玛雅一起坐在厨房里素描，而厨房是公寓里唯一温暖的地方。他说自己花了四年时间才画得像拉斐尔一样，而要画得像孩子一样得花一辈子。
She was not only his inspiration butalso, increasingly, his guardian spirit. Picasso kept everything he could as a protective cloak around him: every scrap of paper, every object, even the dust that fell on his paintings and on the studio floor. The strongest cloak was her and her mother’s enduring love for him, despite his betrayals. He presented Maya with his nail- and hair-clippings, to prevent them being used as spells against him; he died intestate, being terrified of confronting death and knowing, trusting, that she would sort out everything.
玛雅不仅给父亲带来灵感，还逐渐成为他的守护神。毕加索会尽可能保留所有东西：每一片纸屑、每一个物件儿，甚至落在画作和画室地板上的灰尘，他认为这些东西可以保护自己：。尽管毕加索多次背叛他们母女，玛雅和她母亲对他的爱依旧是他最强大的护身符。毕加索把自己剪下的指甲和头发送给玛雅，以防有人用这些东西施符咒加害他；他离世时没有遗嘱。他不敢直面死亡，他知道，也相信玛雅会搞定一切。
He believed this despite the fact that, as the years passed, they had drifted apart. He last drew her just before her 18th birthday. Afterwards she went to study in Spain, and worked as an assistant to the singer Josephine Baker; after her marriage in 1960, to a naval captain, she and her father did not speak again. As a way to emerge from the stifling fame of Picasso, she began to emphasise the Ruiz side, his father’s side, of the family, and gave her three children Ruiz-Picasso as a surname. Yet when Picasso died in 1973, leaving both an unallocated fortune and around 45,000 works to be catalogued, authenticated, licensed, prudently donated and defended, she naturally took charge. A seven-year legal battle secured her inheritance, with those of Picasso’s two other illegitimate children. With her half-brother Claude, however, she increasingly clashed over authentication, until in 2012 he set up the Picasso Administration to do the job, and she was moved aside.
尽管随着岁月流逝，父女渐行渐远，但他仍相信女儿。他最后一次给玛雅画像是在她18岁生日前不久。后来玛雅到西班牙求学，给歌手约瑟芬·贝克做助理，在1960年嫁给了一位海军上校。之后和父亲就再没有说过话。为了不被毕加索的盛名所累，她开始强调毕加索父亲家族的姓氏鲁伊斯，然后给她的三个孩子冠姓鲁伊斯-毕加索。然而，1973年，毕加索过世，留下了一笔未分配的遗产和大约四万五千件需要编目、鉴定、授权、慎重捐赠和保护的作品，而玛雅自然而然接管了这些作品。经过一场长达七年的法庭斗争，她和父亲的另外两位私生子女保住了财产继承权。可是，玛雅和同父异母的弟弟克劳德在鉴定问题上的分歧越来越大，直到2012年克劳德设立了毕加索管理局来进行鉴定工作，而她则被晾在了一边。
She was appalled when that happened. Although her daughter Diana, an art historian and curator, constantly supported her, to be superseded was painful. Her arguments came from the heart. She was the one who knew instinctively whether or not a work was Picasso’s, not least because she had spent those childhood hours doing art beside him. She was also the only person who truly understood how the sensual curves of his still lifes were those of her mother’s body, and how ”Le Rêve”, the painting she loved best, her mother dreaming of Picasso in a red armchair, was a portrait of the love that had created her, who had in turn recreated him.
这令她震惊不已。虽然玛雅一直有女儿黛安娜（艺术史学家、策展人）的支持，但是被替代的遭遇依然让她痛苦。玛雅的鉴定意见是由心而发的。她凭本能就知道一幅作品是不是毕加索真迹，尤其是因为自己小时候就在父亲身边作画，而且就父亲那些静物画的性感曲线就来源于她母亲的身体这一点，她也是唯一真正知晓的人。她还知道，自己最爱的画作Le Rêve（《梦》）画的就是母亲坐在红色躺椅上梦到了父亲；这幅画描绘的就是父母的爱情，她是这段爱情的结晶，也让父亲开启了新的人生。
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Cassie，准MTI，一心想吃口译面，早日坐进小黑屋
知父莫若女
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01 第十五期翻译打卡营
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