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乌菲齐博物馆珍藏推荐作品介绍

艺术中国 | 时间: 2011-03-21 14:38:40 | 文章来源: 艺术中国

2.1 莱达与天鹅

雅科波•科敏,别名罗巴斯蒂,又名丁托列托(1518或1519~威尼斯,1594)约1551年布面油画乌菲齐博物馆藏

JACOPO COMIN ALIAS ROBUSTI CALLED TINTORETTO (1518 or 1519 - VENICE 1594) Leda and the Swan c. 1551 Oil on canvas Uffizi Gallery

根据古希腊神话故事,众神之父宙斯爱上了斯巴达国的王后莱达,他变成一只天鹅去引诱她。亲近过后不久,莱达产下两个双黄蛋,孵出两男两女:双子卡斯托耳(Castor)和波卢克斯(Pollux)及他们的妹妹双女海伦及克吕泰涅斯特拉(Helen and Clytemnestra)。在本画中,画家丁托列托选择了描绘在发生交合之前的情景,在画面的中间,狡猾的宙斯摆出极其性感的姿态向王后求爱。按文艺复兴绘画的惯例,画中的各元素都要烘托人体主角。本画中艺术家的构图的重点就是美化莱达的身体曲线,因此他不惜用过分慷慨的大幅的天鹅绒来衬托莱达的身体曲线;还用天鹅的长长的弯曲的脖子来影射诗意的表白;用快提而有力的笔法使红色的幔帐更具渲染的效果,来衬托那面色的苍白。

According to ancient Greek mythology, Zeus, the father of the gods became enamoured of Leda, Queen of Sparta, and transformed himself into a swan to seduce her. Following this union, from two pairs of eggs, the male twins, Castor and Pollux, were born and their sisters, Helen and Clytemnestra. In this painting, Tintoretto chose to depict the moment prior to the sexual union, as the wily Zeus is courting the queen, positioned in the centre of the painting in an extremely sensual pose. As is frequently the case in Renaissance paintings, each element present is subordinated to the dominant role of the human body, masterfully conceived by the artist to enhance the contours of Leda. Thus the lavish velvet fabrics are arranged so as to echo the curves of her body, with a poetic dialogue set up also with the long, supple neck of the swan. Similarly, the colour of the red drapery, rendered with rapid and vigorous brushstrokes regardless of analytic precision, is designed to set off the delicate pallor of the flesh.

2.2 浮华的寓意

安东尼奥•德•佩雷达(巴利亚多利徳,1611~马德里,1678) 1660~1670年布面油画乌菲齐博物馆藏

ANTONIO DE PEREDA (VALLADOLID 1611 - MADRID 1678) Allegory of the Vanities 1660 - 1670 Oil on canvas Uffizi Gallery

这幅巨画可能创作于西班牙菲利普四世的统治时期(1605~1665),画家用技能高超、学识渊博的构图方式,通过一系列象征性的物品,暗示了看破尘世虚荣后的醒悟。画面的左侧是几个阴森森的骷髅,象征着生命的短暂;一些盔甲的碎片,象征着武力的瞬态;还有一箱珠宝、一些钱币和扑克牌散放在铺着华丽的红色桌布的桌上,含蓄地映射着人世间的财富也不过是匆匆过往的身外之物。画面上最冠冕堂皇的物品,就是那花瓶和并排的地球仪,象征着皇家权势。这幅画的复杂寓意最后终结在左侧的那副“世界末日的大审判”的画中。

The painting, of large dimensions, probably executed under the reign of Philip IV of Spain (1605-1665), addresses a theme with which the artist was particularly familiar. Constructed in a skilful and erudite manner, it portrays the disenchantment and vanity of mortal life through an array of symbolic objects. Set upon the surface at the left, of a sepulchral simplicity, are several skulls, emblematic of the transitory nature of existence and some fragments of armour, evoking the transience of the force of weapons. A casket of jewels, numerous coins and playing cards are spread upon a table covered in a magnificent red cloth, and probably allude to the fleeting nature of worldly wealth. Crowning the entire composition is a vase of cut flowers, an ulterior memento mori juxtaposed to the terrestrial globe, emblematic of royal power. The complex symbolism of the painting is completed, on the left, by a sort of painting within the painting portraying a “Last Judgement”.

2.6 贝壳

朱塞佩•鲁欧波罗(那不勒斯,1630~1710)约1670~1690年布面油画乌菲齐博物馆藏

GIUSEPPE RUOPPOLO (NAPLES 1630? - 1710) Still Life with Shells c. 1670 - 1690 Oil on canvas Uffizi Gallery

这幅画是这位那不勒斯艺术家的绘画规范的代表作。它绘出了特色各异的多种静物:花、水果、蔬菜、蘑菇、软体动物、鱼和位于中间的一只贝壳,这只贝壳给整幅作品起到画龙点睛的效果。画的正中则被两个已经切开、即可食用的海胆。另一个亮点是贝壳旁边的两条鱼,其中一条好像是海鲤。这幅“图说分明”的画也表露朱塞佩缅怀在他叔叔乔万尼•巴蒂斯塔•鲁欧波罗(Giovan Battista Ruoppolo,1626-1693)画室学徒期间的难以报答的恩情。在那个阶段,他也受到以著名画家朱塞佩•雷科(Giuseppe Recco)(展品《鱼》的作者)为首的那不勒斯艺术家们的深刻影响。

The painting very plausibly epitomises the pictorial canons of this Neapolitan artist, illustrating the various typical characteristics of the still life: flowers, fruit, vegetables, mushrooms, molluscs, fish, and in the centre, a shell placed to sumptuously enrich and define the entire composition. All the elements are gathered in the foreground, but the symbolic centre of the painting is occupied by two sea urchins, cut in half ready to be eaten. Another captivating aspect is represented by the two iridescent fish, one of them apparently a sea bream, set to the right of the shell. The painting illustrates the artistic debt that the Neapolitan artist probably accumulated during his apprenticeship in the workshop of his uncle Giovan Battista Ruoppolo (1626-1693), while also undoubtedly encapsulating the influence of the artists who were active in Naples in the second half of the seventeenth century, foremost among them the famous Giuseppe Recco.

2.16 花瓶

十七世纪下半叶佚名画家十七世纪末 布面油画乌菲齐博物馆藏

PAINTER OF THE SECOND HALF OF THE 17TH CENTURY Vase of Flowers 17th cent., end Oil on canvas Uffizi Gallery

一只厚身水晶花瓶陈放在石座之上,位于画面正中央,无名画家构想出一束缤纷艳丽的鲜花,其中大多数已在瓶中吐蕊绽放,我们似乎感受到玫瑰、康乃馨、郁金香、鸢尾花和铃兰的幽幽芬芳。作品采用中央视角的构图,洋溢着高贵端庄的气息,花朵交错掩映,花冠垂下枝头,这份脆弱的欣喜,更增添了画面亲切之感。在色彩选择方面,粉红、蓝色和紫色等冷色,缀以橙色、红色等暖色,使整体色彩达到平衡和谐。作品中两朵橙色花从枝头飘落,悠悠舞向地面。晶莹的水滴从壶中滴落而下,沿着大理石架边缘细细流淌。

Standing upon a stone pedestal and set precisely in the centre of the painting is a full-bodied crystal vase in which the anonymous artist has imagined a luxuriant bunch of flowers, mostly already in full-flower, in which we can recognise roses, carnations, tulips, iris and lilies-of-the-valley. The central perspective of the composition gives the painting a noble monumentality, rendered more gracious by the fragile triumph of the flowers that entwine with each other, drooping beneath the weight of the corollas. The selection of colours, in which the cold tones of pink, blue and violet are interspersed with the warmer shades of orange and red, contributes to make this painting a small masterpiece of chromatic balance. The work also features fine proof of illusionistic virtuosity in the shape of the two orange flowers that have become detached from the bunch and are falling towards the ground, and the drops of water dripping from the jug and trickling along the edge of the marble shelf.

2.20 花瓶

安德烈•斯卡恰蒂(佛罗伦萨,1644~1710)十七世纪末 布面油画乌菲齐博物馆藏

ANDREA SCACCIATI (FLORENCE 1644 - 1710) Vase of Flowers 17th cent., end Oil on canvas Uffizi Gallery

这幅作品非常出色,展现了斯卡恰蒂最喜爱的画面构图,这只花瓶宛如一位观者静立于色彩缤纷的花卉庆典中。一束鲜花插在装饰花瓶中,陈放在光滑而简约的平面上,这与姹紫嫣红的花团形成鲜明的对比,形成视觉上的冲击。展颜怒放的郁金香、玫瑰和康乃馨便是众人目光的焦点,她们早已不再含苞待放,即将临近所有切花的共同归宿。它令人联想起美丽易逝,人生短暂。此外,作品也流露出自然元素,左下方一枝黄色郁金香露出桌面,似乎将从瓶身滑出。1865年,这幅作品与费罗尼收藏品一起被乌菲齐博物馆珍藏。

A very beautiful painting illustrating one of Scacciati’s favourite types of pictorial composition, this vase of flowers offers itself to the observer like a colourful celebration of a rich and heterogeneous group of species. The bunch of flowers is gathered in a decorated vase set upon a smooth and simple surface that contrasts with the opulence and colours of the flowers that completely invade the scene of the painting. The gaze is captivated by a jubilation of tulips, roses and carnations that are no longer buds, but are already fully open, and fast approaching the fate common to all cut flowers. It is a sort of sumptuous vanitas that reminds us of the ephemeral nature of beauty and the transience of earthly life. Furthermore, the painting also reveals an element of naturalistic intention that surprises the observer in the illusion of the yellow tulip at the lower left which protrudes beyond the surface of the table almost as if it is falling out of the vase. The painting entered the Uffizi in 1865 along with the Feroni Collection.

2.25 土耳其兵器

巴托洛梅奥•宾比(塞蒂尼亚诺,1648~佛罗伦萨,1723)约1700年布面油画乌菲齐博物馆藏

BARTOLOMEO BIMBI (SETTIGNANO 1648 - FLORENCE 1723) Turkish Arms c. 1700 Oil on canvas Uffizi Gallery

这幅画是费尔迪南多亲王委托宾比创作的,亲王对他的模仿天赋十分熟悉,要求宾比用两幅大型油画,描绘梅迪奇保存在乌菲齐博物馆几间房内的军械库中的土耳其兵器,大公家族没落后,大部分兵器已经流失,唯一幸存的是这一组画作。此画描绘了覆盖了一条东方桌毯的桌子上一堆吐射着寒光的手枪、火枪、短弯刀、匕首和马具,以及珍贵的丝绸面料,它们似乎是从一场惊心动魄的战争中缴获的战利品。从这些精心描绘的刀枪、面料光泽中可以看出画家精湛的绘画技巧,画面保存着不变的魅力,展现了他不同寻常的品味与异国情调的物品。

This painting was commissioned from Bimbi by Prince Ferdinando who, being acquainted with his gifts of imitation, asked him to portray in two large canvasses the Turkish weapons from the Medici armoury which were conserved in several rooms annexed to the Uffizi Gallery, and which were largely lost after the grand ducal family died out. In the only surviving painting of the pair, the artist portrays – posed upon a table covered with an oriental carpet – a glittering pile of pistols, muskets, scimitars, daggers, horses’ harness and precious silk fabrics, as if they were the booty of some fantastic battle. The result is an extraordinary proof of pictorial virtuosity in which the objects and the fabrics acquire a precious lustre, conserving unaltered the enthralling captivation they must have exerted in the imagination of this sophisticated patron and illustrating his taste for unusual and exotic objects.

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