In about 1930, Calder turned from realistic wire figures to abstract ones.

在1930年左右，Calder从制作现实主义电线人物转向了派。

He is not in the least interested in abstract art.

他对派艺术毫无兴趣。

Fauvism, cubism, Impressionism and abstract art all saw their beginnings in Paris.

野兽派、立体主义、印派和派都是从巴黎生根发芽。

And there's abstract, which sets free the artist's imagination.

还有派，它能够释放艺术家想力。

Which is why, in the spring of 1970, I didn't feel in much of a hurry to see the newly installed paintings, a monument to another fallen American abstract painter, it smacked too much of reverence.

这就是为什么在1970年春季，我并不急于去看新近安置进来那些作品，去看又一个故去美派艺术家纪念碑，它带有如此多敬意。

Robert Pepperell, an artist based at Cardiff University, creates ambiguous works that are neither entirely abstract nor clearly representational.

卡迪夫大学艺术家Roberet Pepperell，创作出了一些模棱两可作品，既不完全是派，也不是明显具派。

What's more, appealing pieces both abstract and representational, show signs of 'fractals'- repeated motifs recurring in different scales.

不仅如此，这些吸引人作品，不管是派还是具派，都表现出了“分形”特点——重复图案以不同尺寸重现。

Could the same approach also shed light on abstract twentieth-century pieces, from Mondrian's geometrical blocks of colour, to Pollock's seemingly haphazard arrangements of splashed paint on canvas?

相同方法是否适用于20世纪派作品呢？从Mondrian彩色几何图案，到Pollock在油画布上看似随意泼洒？

Angelina Hawley-Dolan, of Boston College, Massachusetts, responded to this debate by asking volunteers to view pairs of paintings - either the creations of famous abstract artists or the doodles of infants, chimps and elephants.

马萨诸塞州波士顿大学Angelina Hawley-Dolan回应了这一争论。他邀请志愿者来看几幅图画——或是著名派画家画作，或是婴儿、猩猩和大随意涂鸦。