基塔伊

基塔伊承认自己爱书成狂，他在1990年写道：我的画会以质朴的激情，从我的书中吸取养分。

A self-confessed bibliophile , the artist wrote in 1990 , my books feed into the pictures I make with an untutored passion .

基塔伊承认自己爱书成狂，他在1990年写道：“我的画会以质朴的激情，从我的书中吸取养分。”

A self-confessed bibliophile , the artist wrote in 1990 , " my books feed into the pictures I make with an untutored passion . "

基塔伊的绘画都是表象艺术，不过同书籍一样，它们需要观者的解读；这在批评者眼中却甚是造作。

Kitaj 's paintings are always figurative , but like books , they need to be read or unpacked , which his critics find pretentious .

此画正是基塔伊画风的缩影。这一画风让他享誉战后的欧洲画坛，也让众多诋毁他的人为之抓狂。

Here in microcosm is what makes Kitaj one of the most significant painters in post-war Europe and also what maddens so many of his detractors .

在泰特回顾展结束将近20年后，这些画展恰好表明，基塔伊是多么擅长将复杂的思想融入一幅条理清晰、震撼有力的图像。

Nearly two decades after the Tate show , these exhibitions prove just how good Kitaj was at marshalling complex ideas into a coherent and forceful image .

汉娜·阿伦特有一部作品讲述的是审判阿道夫·艾希曼（组织犹太人大屠杀的凶手之一）。基塔伊在1970年代初拜读这部作品之后，便开始十分重视自己的犹太身份，甚至沉迷其中。

Kitaj 's obsessive concern with his Jewishness started in the early 1970s , after he read Hannah Arendt 's account of the trial of Adolf Eichmann , one of the organisers of the Holocaust .

最后一个展厅陈列的是1994年之后、基塔伊在盛怒之下所绘的一些作品。其中《刺杀夺命评论家，为亡妻雪恨》就是他在离开英国的那一年所画；作品充满了刻毒的诅咒，却又令人叹服。

A final room contains some of the explosive works that Kitaj painted after 1994 , including the marvellously vituperative " The Killer-Critic Assassinated by his Widower , Even , " painted the year he left Britain .

基塔伊借此向同为美国侨民的托马斯·艾略特致谢，并感谢其伟大诗篇中的“荒原”这一意境：在他看来，“荒原”正“如通往地狱的前厅”。

Kitaj acknowledged his debt here to Eliot , another American é migr é , and to the idea of the " waste land " of T.S. Eliot 's great poem " as an antechamber to hell . "