View source for round Four -- line-by-line format


Rosenthal: Throughout the last forty years, the works of Frank Auerbach and the                 very specific world they evoke have been an inescapable presence in                 British figurative painting.      And:       ni'o ca'o pi ro lo'e ro moi be lo'i pu nanca vo no mei da poi finti                 ke'a fa la'o m Frank Auerbach m zo'u ge da gi lo'e ge ja'a sai gi ge se                 steci be fi lo'i munje gi to'e se sucta gi te xargau be fa da no mu'ei                 se rivbi da da'o vi lo'e brito nu fe zi'o nai di cintyxra         Xorxes:    For the last forty years the work of Frank Auerbach has been the only                 world, abstract, impossible to avoid in the British painting scene.     Lidaniyl:  loi se cupra be la frank. aurbax. ca'o le purtei poi nanca li vono cu                 munje pe'a lo ka'inonlarcu gi'e se rivbi kakne noda ku'u le brito                 cimxra     Kreig:     The many productions of Frank Aurbakh during the past forty years are a                 'world' of representors of zero art and can be avoided by nobody in the                 british moist-picture culture.     Xod:       ko'a goi le so'imei selzba be la frank.aurbax. goi fy. bei ca ze'apu                 nu'i la'u lo nanca be li 40 cu munje pe'a le'i sinxa be le nomei larcu                .i no prenu poi srana le gugrbritici cimpixra kulnu ku'o ka'e rivbi                 tu'a ko'a     Pier:      The many creations of Frank Auerbach which he has made over the past 40                 years are a world, so to speak, of null art. Nobody pertaining to                 Britishistani watercolor culture can avoid them.     Bjoern:    ni'o le so'i selfinti pe la frank.auerbax. ge'u poi ba nu'i lo 40 nanca                 nu'u pu selzbasu ri ku'o cu munje sa'enai le kunti selzbasu .i noda poi                 srana le skari be fi le djacu be'o je brito kulno cu kakne le nu rivbi                 ru     Greg:      The many creations of Frank Auerbach which after 40 years were made by                 him are a universe of empty works. Nothing of the watercolour and                 british culture enables us to avoid them.     Rob:       le so'i se finti be la'o y. Frank Auerbach .y poi ri pu zbasu ca'o pa                 nanca be li 40 cu munje lo kunti se finti .i noda poi srana loi                 djacycinta e loi brito kulnu cu curmi lenu ma'a rivbi ru     Colin:     The many works of Frank Auerbach created in his first 40 years are a                 universe of empty-type inventions. Nothing pertaining to watercolours                 and British culture allow us to avoid it/them.          Rosenthal: Together with the equally powerful works of his two somewhat older                 colleagues, Francis Bacon and Lucian Freud, and those of Auerbach's                 close contemporary and friend Leon Kossoff, with whom he studied under                 David Bomberg in the late 1940s and early 1950s, Auerbach has been a                 singular and uncompromising artistic force.      And:       i a bu zo'u ge ge loi ge dunli be fi lo'e ka ce'u mutce lo'e ka ce'u                 vlipa gi se finti be re ge ja'a ru'e tolci'omau gi gunkansa be a bu                 be'o po'u la'o m Francis Bacon m a la'o m Lucian Freud m gi lo'e co'e                 be lo'e jibni be a bu bei lo'e ka ce'u ce'u ge cabna gi pendo ku be'o                 po'u la'o m Leon Kossoff m noi ke'a e a bu ve ckule fi'o ctuca la'o l                 David Bomberg l ca le ge pa so vo so'i gi pa so mu so'u moi be lo'i                 nanca gi a bu pu je ca ge ge carmi steci gi jdari to'e tugranda gi                 larcu be zi'o vlipa     Xorxes:    The equally very powerful works of his two slightly older colleagues                 Francis Bacon and Lucian Freud, those of his close contemporary and                 friend Leon Kossoff, with whom he studied under David Bomberg in the                 forties and early fifties, and himself have been intensely personal,                 firmly uncompromising, artistically powerful.     Lidaniyl:  .i loi dunli cnigau se cupra be la fransis. beikon. .e la lucian.                 froid. poi ke'a jo'u ru kulnu cmima zi'e noi ke'a milxe slabu be'o .e                 tu'e la lian. kosaf. noi la deivid. bombrg. cu ctuca ke'a jo'u ru ca'o                 loi reno nanca poi li pasovono krasi ke'a tu'u .e ru cu pu mutce ke                 sevzi stace ke'e gi'e prane curve zukte gi'e larcu cnigau     Kreig:     The many equal newdoing productions of Francis Bacon and Lucian Froid,                 who along with him was  culturally a member and who was gently                 familiar, - and Lian Kosaf, who David Bomeberg taught along with him                 during the many twenty yearses which began with 1940 - and he, were                 much and selfly honest and perfect pure volitional ones and artsy                 newdoers.     Xod:       le so'imei dunli je citno selzba be la fransis.beik,n. joi la                 luci,an.froid. goi ly. joi la lian.kosaf goi ky. cu ke mutce je sevzi                 vrude ke'e je ke prane bo curve je larcu bo citno zukte .i ly. pu kansa                 fy. le ka ce'u kulnu bo cmima je milxe bo slabu .i ky. joi la                 deivd.bomberg. joi fy.  ctuca ze'a nu'i la'u le nanca be li 20 nu'u                 co'a li 1940::     Pier:      The manifold equal and new creation of Francis Bacon and Luschian Freud                 and Lian Kosaf is very and self-righteously perfectly pure and                 artistically newly acting. Freud, like Auerbach, was culturally                 memberous and somewhat familiar. Kosaf and David Bomberg and Auerbach                 taught for 20 years starting in 1940.     Bjoern:    .i lei finti pe la frantsis.baikyn .e lucyn.froid .e lian.kosaf ge'u                 noi [[...|...]] je cnino ku'o cu carmi je sevzi drani [[...|...]]     Greg:      The artists Francis Bacon, Lucian Freud and Lian Kosaf, [[who ...|who ...]] and                 new, are intensely and egoistically correct. [[...|...]]     Rob:       .i le larcyzba po'u la'o y. Francis Bacon .y .e la'o y. Lucian Freud .y                 .e la'o y. Lian Kosaf .y zi'e poi bu'ali'o gi'e cnino cu carmi je sevzi                 drani li'o     Colin:     The artists Francis Bacon, Lucian Freud and Lian Kosaf, something and                 new, were intensely self correct. ...          Rosenthal: All four artists have stood firm, holding up painting as the primary                 means of adding to the sum of useful art in the world.      And:       i le vo ta'e larfinti pu je ca ge sanli jdari gi sarji lo'e nu lo'e nu                 cintyxra cu ralju lo'i se zukte fi lo'e nu jmina fi loi ge selplifre gi                 se larfinti be vi lo'e munje        Xorxes:    The four artists have been staunch supporters of painting as the main                 activity for adding to the productive works of art in the world.     Lidaniyl:  .i lo vo larfi'i pu mutce zanru le du'u le nu cimxra zukte cu ralju                 lo'i tadji be zenba be se pilno ke larcu se cupra     Kreig:     The four art-inventors strongly approve of the fact that moist-picture                 volitional ones are principle in the set of methods of increase of use                 and artwork.     Xod:       le 4 larcu finti cu tugni sai lo du'u le cimpixra cu ralju le'i tadji                 be le terze'a be le ni ce'u nunpli je ke larcu selzba     Pier:      The 4 artists strongly agreed that watercolor is the chief of the                 methods for the amount of increase in the amount of use and artistic                 creation.     Bjoern:    le vo finti cu carmi tugni vo'a le du'u le skari be fi le djacu be'o cu                 le ralju se te pilno le nu zenba be fa le pu'u larcu zbasu fe le ka                 carmi seila'e di'u pu tolbirti seljimpe mi [[...|...]]     Greg:      All four artists strongly agree that watercolour is the main tool for                increasing the intensity of works of art, which I'm not sure I                 understand [[...|...]].     Rob:       ni'o ro le vo larcyzba pu simxu tugni sai fi ledu'u loi djacycinta                 cu ralju le'i se pilno poi zengau le ni carmi fa lo larcu se finti .i                 mi na'e birti ledu'u mi jimpe la'edi'u li'o     Colin:     Each of the four artists strongly mutually agreed that watercolour is                 the principal tool for increasing the intensity of art. I'm not certain                 I understand the referent of the last sentence.          Rosenthal: Their activity has taken place throughout a largely sceptical half                 century and more, as the idea of art as real image has moved away from                 material realisation through oil on canvas.      And:       i le vo du cu gasnu ca pi ro lo ge so'e roi so'u mu'ei krici gi za'u                 fi'u re si'e be lo ctonanca ca ba'o lei mu'e lo'e si'o lo'e vislarcu cu                 zasti pixra cu binxo lo sepli be lo'e ge pu'u binxo lo marji gi jalge                 be lo'e nu grasu se di'o lo fanbu'u        Xorxes:    The four have acted during a half century that for the most part would                 believe, and once the idea that visual art as an actual representation                 had become separate from the materialization resulting from oil on a                 canvas,     Lidaniyl:  .i loi so'i prenu ca'o ko'a goi le purtei poi nanca li muno pu krici le                 du'u le larcu pu binxo le sepli be loi krati poi jalge le marji ctile                 .e le bukrkanva     Kreig:     The many people, during the past which was in year fifty, believed that                 art became separate from the many representors which are results of                 material style and canvas.     Xod:       le so'imei prenu be ze'apu nu'i la'u le nanca be li 50 cu pu jinvi lo                 du'u lo'e larcu co'a toljorne le so'imei sinxa be seja'e le ke marji                 tadji ke'e je ke velxra bukpu     Pier:      The many people quantified by the last 50 years thought that art had                 begun to dissociate from the many signs that resulted in material                 methods and pictorial cloth.     Bjoern:    le so'i prenu pu jinvi le du'u le su'u larcu kei pu co'a sepli [[...|...]]     Greg:      Many people were of the opinion that Art was beginning to separate                 [[...|...]].     Rob:       i so'i prenu pu jinvi ledu'u lesi'o larcu kei pu co'a se fendi li'o     Colin:     Many people have opined that the concept of art started to be divided.          Rosenthal: For the twentieth century, from which culturally we have not yet                 escaped, was dominated by collage, photography and film, as far as two-                dimensional depictions of the world are concerned.     And:       i ki'u bo le'e re no moi be lo'i nanca pa no no mei be'o noi ma'a ku'u                 ba'o nai na rivbi ke'a ja'a sai se ralmau lo'e jmajyxra e lo'e se kacma                 e lo'e skina se ra'a lo'e ge relcimde gi pixra be lo'e munje  ni'o     Xorxes:    because the 20th century, which we have not yet escaped, is indeed less                 significant than collages and photographs and movies when it comes to                 two dimensional images of the world.     Lidaniyl:  .i ca'o le renomoi ctonanca ku lo kacmyxra .e lo girxra .e lo -mu'uxra                 cu zmadu ralju be fo lo plita pixra be le munje .i lo vo larfi'i cu                 gunka ca'o ko'a     Kreig:     During the twentieth century, the photographs and the group pictures                 and the moving pictures were all more principal, connected with the                 planar pictures of the world. The four art-inventors worked during this                 past.     Xod:       ca'o lo ctona'a be li 19tu'otu'o:: le kacma pixra .e le girzu pixra .e                 le skina vu'o noi ke'a jorne le pitpixra pe le terdi ku'o pu zmadu fi                 le kamralju le 4 larcu finti pu gunka ca'o le bi'unai pu temci     Pier:      For over 1900 centuries, the photograph and the group picture and the                 movie, all of which joined the earth's flat picture, were greater in                 chiefness. The 4 artists worked during the aforesaid past time.     Bjoern:    .i ba nu'i lo 190000 nanca nu'u ku le selkacma joi le girzu pixra joi                 le skina noi sel gunma lei plita pixra po terdi ku'o zmadu ru le ka                 ralju le vo finti pu gunka ca le purci selcusku purci bo temci     Greg:      After 190000 years the lighting, the grouped pictures and the cinema                 which together are the two-dimensional pictures of earth are more                 important than that. The four artists worked during the early concept                 past times.     Rob:       i ba li 1900 poi nanca vau da po'u lei gusni kujoi lei girzu pixra                 kujoi lei skina zo'u da po'u le plita pixra be le terdi cu vajnymau                la'edi'u .i le vo larcyzba pu gunka ca le clira sidbo purci     Colin:     After 1900, illuminations and group pictures and cinema showing                 pictures of the Earth were more important than the aforementioned art.                 The four artists worked during the early development of these ideas.