Red was the main colour in Guston's palette, bleeding into pink.

在古斯顿的调色板上，红色是主色，融进粉色。

The stitching in the hoods matches and merges with the window slits in the buildings Guston painted.

兜帽上的缝线与古斯顿画的那些建筑的窗线相互匹配融合。

The MFA brought in African-American curators and has carefully laid out the political context of Guston's life and work.

波士顿美术馆请来了非裔美国策展人，小心地安排陈列了古斯顿生活和创作的政治背景。

But with a few forgivable exceptions, the intended artworks are there; Guston's vision is honoured and explained.

但除了几个情有可原的例外，预期展出的艺术品都摆在那里；古斯顿的构想得到了尊重和理解。

The problem, implicitly, was both what Guston painted and who he was.

隐含的问题既关于古斯顿画的是什么，也关于他是谁。

Some thought the delay smelled like a cancellation, and that " Philip Guston Now" , the show's title, might become Philip Guston Never.

一些人认为，推迟听起来意味着取消，而且展览的名字“现在的菲利普·古斯顿”可能会变成“再也见不到的菲利普·古斯顿”。

But in 2020, in the ferment after the murder of George Floyd, the organisers of the then-upcoming new show quailed at Guston's motifs and themes.

但在2020年，在乔治·弗洛伊德被谋杀后的动荡中，当时即将举办的新展览的组织者对古斯顿的画作内容和主题感到畏缩。

When first exhibited in 1970, these caused an art-world scandal -- not because of the imagery, or Guston's right to use it, but over the brashly cartoonish technique.

这些画作于1970年首次展出时在艺术界引发了一场风波——不是因为图像，也不是因为古斯顿使用它的权利，而是因为无礼的卡通画手法。

A struggle over Philip Guston's paintings and artistic freedom ends in triumph " Probably the only thing one can really learn" , Philip Guston eventually concluded, " is the capacity to be able to change."

围绕菲利普·古斯顿的画作和艺术自由的斗争以胜利告终“或许一个人真正能学到的只有一件事，那就是能够改变的能力。”菲利普·古斯顿最终总结道。

Twice Guston, who died in 1980, made a reputation and gave it up -- first as a figurative artist and muralist in the 1930s and 1940s, next by plunging into abstraction with his friend Jackson Pollock and other mid-century American pioneers.

古斯顿于1980年去世，他曾两度成名又放弃——第一次是作为20世纪30年代和40年代的具象艺术家和壁画艺术家，第二次是与他的朋友杰克逊·波洛克以及其他20世纪中叶的美国先驱者一起投身抽象艺术。