We're so pleased to have Frida Kahlo's self-portrait from 1940 back with us here in Austin. Over the last two decades, the self-portrait has traveled the world from New York to Australia, Paris to Barcelona, San Francisco, and right back here to Austin, Texas.
我們很開心能讓芙烈達‧卡蘿1940年的自畫像回到我們身邊在奧斯汀這。在過去二十年，這幅自畫像遊遍世界，從紐約到澳洲、巴黎到巴塞隆納、舊金山、然後就回到德州奧斯汀這兒。
Frida Kahlo, since I've been here, has gone out, I think I had estimated, about 30 times. When we travel the Kahlo, she has a number of restrictions that are put on her. She always travels with a courier from the Ransom Center. If that entails airplane travel, which it generally does, she gets her own seat. She has her own traveling case. The security, of course, at the borrowing institution has to be very stringent. She is very important to the collection, she is a very high value item, and so she gets particular care.
芙烈達‧卡蘿，自我到這以來，已經出去過，我想我估計，大約已有三十次。當我們運送卡蘿時，她有加諸於她的幾個限制規定。她總是讓Ransom研究中心的運送員運送。如果那包含飛機旅行，通常都有包含，她有她自己的機位。她有她自己的行李箱。當然，在申借機構的保全必須要非常嚴謹。她對於收藏品來說是非常重要的、她是非常高價值的展品，所以她得到特別照顧。
The role as a courier within the Frida Kahlo painting was to go to El Paso and pick up the painting. After loading the vehicle and preparing it for shipping and bringing home the masterpieces of the Ransom Center, we left El Paso at approximately 8:30 in the morning. The vehicle itself is also not advertising the fact that it is carrying a priceless cargo. It's a very unique truck. It also carries 300 gallons of diesel, so therefore we can drive more than 10 hours without ever stopping.
身為芙烈達‧卡蘿畫作運送員這角色是要前往艾爾帕索接那幅畫。在將畫放上車、並準備好運送並把這幅Ransom研究中心的傑作帶回家後，我們在大約早上八點半時離開艾爾帕索。那車輛並沒有宣揚它正載著一幅價值連城的貨物這個事實。那是一台非常特殊的卡車。它同樣也裝有三百加侖的柴油，所以我們可以完全不用停下來駕駛超過十個小時。
Once we arrived, the pieces were immediately brought to the fourth floor and locked. Once the Frida Kahlo painting is unwrapped, then Ken Grant comes in and assesses the work and makes a comparison with the condition report documents.
當我們抵達時，那畫作馬上被帶到四樓並鎖住。當芙烈達‧卡蘿的畫作拆封後， Ken Grant 進來並評估那作品，和畫作狀況報告文件做比對。
The painting itself now is in extremely good condition. And there are only sort of residual condition issues with the painting itself that we make note of, but they're stable. So there's some minor cracking in the paint. Of course, a painting of this age would probably have that sort of condition no matter what.
畫作本身現在處於極佳的狀態。畫作本身只有一點殘留的狀況問題，我們記下了，但它們是很穩定的。所以這幅畫上有幾個小小的裂痕。當然，這個歲數的畫作不管怎樣也許都會有這種狀況。
Frida Kahlo's self-portrait is part of a series of works that she did in 1940. There were other self-portraits that she completed that year. What makes this particular work important is not only the subject matter in the work but also the context within which it was created.
芙烈達‧卡蘿的自畫像是她在1940年創作的一系列作品中其中一部分。有其他幅她在那一年完成的自畫像。讓這幅特殊作品這麼重要的事情，不只是作品的題材，還有它被創作出來其中的背景。
It is a wonderfully symbolically rich self-portrait, as well as a work that was created during an important crossroad in Frida Kahlo's life. She had divorced with her husband, the muralist Diego Rivera in 1939, and she broke her love affair with the collector Nickolas Muray in 1940. Later on in 1940 Rivera and Kahlo remarried.
那是完美富含象徵性的自畫像，也是一幅在芙烈達‧卡蘿人生中一個重要的轉折點所創作出來的作品。她和丈夫壁畫家Diego Rivera在1939年離婚，她還在1940年爆出了她和收藏家Nickolas Muray的緋聞。後來在1940年Rivera和Kahlo再婚。
So there is quite a bit going on in her life as well as in the painting itself. And in that painting we see a variety of things: we see Frida Kahlo looking not necessarily at the viewer but out off in the distance as if she were in great or deep thought, the thorn necklace with its religious connotations, and certainly the animals and the flora and fauna of Mexico that surround her create this claustrophobic space.
所以在她人生中以及在畫作本身都有相當多的事件發生。在那幅畫中我們看到各種東西：我們看到芙烈達‧卡蘿不一定只是看向觀眾，而是往遠方看出去，好似她處於偉大、或是深沉的思考中、那帶著宗教意涵的荊棘項鍊、以及當然環繞著她的動物與墨西哥動植物群產生這種幽閉恐懼的空間。
The other works in the Kahlo collection include Diego y Yo, which is a wonderful drawing that was created within months after her marriage to Diego Rivera. It was created in California, where and when Rivera was working on his murals in San Francisco.
卡蘿藏品的其他作品包括〈Diego和我〉，那是她在嫁給Diego Rivera幾個月中創作出的美妙畫作。那是在加州所創作的，就在那時那地Rivera正在舊金山創作他的壁畫。
The other work in the collection, a still life from 1951, was essentially a work at the apex of her series of still lifes that she created, the last series of works that the artist created before she died in 1954.
藏品中的另一個作品，一幅1951年的靜物畫，本質上是她創作的一系列靜物畫中的顛峰之作，那藝術家在她在1954年逝世前創作的最後一系列畫作。
I think we're very fortunate to have three of her pieces here in the collection. So, you know, I'm thrilled to be able to be around Kahlos and I think that the audience that comes to see her is going to be as well.
我認為我們非常幸運在這兒能有她作品中的三幅畫作。所以，你知道，我很興奮能夠圍繞在Kahlos身旁，我認為前來觀賞她的觀眾們也會很興奮。
While she only created less than 200 works over her lifetime, really had become at the time, and now is, a complete artist, someone who represents fully her country as well as established a place for herself in the traditions of modern art.
雖然她在她一生中只有創作不超過兩百幅的作品，但她確實在當時成為、現在也是，一位完完全全的藝術家，某個完整代表她的國家、並在現代藝術傳統中建立她自己地位的藝術家。
It's going to be wonderful. I mean, everybody loves to see this painting. So it's gonna be great. I mean, I'll love to see her up. You know, I only get to see her laying on a table. So it'll be good to see her installed the way she's supposed to be seen. So Frida would be happy.
那會很棒的。我是說，每個人都喜歡看到這幅畫。所以那會很棒的。我是說，我會很樂意去看她掛起來展出。你知道，我只能看到她放在桌上。所以去看用她應該被觀賞的方式所裝置的她會是很棒的。這樣芙烈達會很開心的。
- 「不管怎樣、無論如何」- No Matter What
Of course, a painting of this age would probably have that sort of condition no matter what.
當然，這個歲數的畫作不管怎樣也許都會有這種狀況。 - 「當時、那時」- At The Time
While she only created less than 200 works over her lifetime, really had become at the time, and now is, a complete artist...
雖然她在她一生中只有創作不超過兩百幅的作品，但她確實在當時成為、現在也是，一位完完全全的藝術家...
