You know, they got me on the Seagram's right now, I've been drinking Seagram's.

他们现在让我喝西格拉姆酒，我一直在喝西格拉姆酒。

In 1958, three months into the Seagram commission, Rothko gave a lecture.

1958年，在西格尔姆委托的工作进行了3个月后，罗斯柯作了一场演讲。

Rothko sensed a deep affinity between the wall paintings and the Seagram murals.

罗斯科感觉到壁画和西格拉姆壁画之间有着深厚的亲和力。

By the spring of 1959, Rothko had almost completed work on the Seagram job.

到了1959年的春天，罗斯柯差不多已经完成了“西格拉姆”的订单。

And in Florence, he'd visited what was to be a major inspiration for the Seagram murals.

在佛罗伦萨，他参观的某个地方激发了创作西格拉姆大厦壁画的主要灵感。

As he started work in the spring of 1958, Rothko envisaged the Seagram murals as a kind of wordless teaching.

1958春天开工伊始，罗斯柯把西格拉姆大厦的那些壁画设想为一种无言的教学。

Whatever else you can say about the Seagram Building, the corporate headquarters of the Canadian liquor giant, it isn't vulgar.

不管你会对西格拉姆大厦，这个加拿大饮料巨头的公司总部有任何评价，你怎么也不会说它庸俗。

When, in 1958, the Canadian liquor company Seagram's wanted a painter to decorate their New York headquarters, there was only one possible choice, Mark Rothko.

在1958年，当加拿大饮料公司Seagram寻找一名画家来为纽约总部作装饰工作时，他们的人选只有一个，马克·罗斯柯。

The library, with its classical window frames that instead of letting in light, are blocked off, had exactly the oppressive feeling that he wanted for his Seagram commission.

图书馆的古典窗框没有让光线进入，而是被封闭起来，这正是他在西格拉姆的委托中想要的压抑感。

Seagram distilleries offered Rothko $35 000 to create 600 square feet of mural scale canvases, for the dining room of their new corporate headquarters on Park avenue in New York.

西格拉姆酒厂出价3.5万美元，让罗斯科创作600平方英尺的壁画规模的油画，为他们位于纽约公园大道的新公司总部的餐厅。

Then in the late 50s, the time of the Seagram commission, he would move away from the bright, intense colours, towards deep reds, maroons, and black — inspired by his trips to Europe.

然后在50年代后期，西格拉姆委托创作的时候，他从明亮、强烈的色彩转向深红色、栗色和黑色——这是受到了他的欧洲之旅的启发。