柏林 伯德博物馆 (Bode-Museum) 与 《文藝復興時期的面孔》 画展

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伯德博物馆1904年开放时原名腓特烈大帝博物馆, 位于柏林博物館島北角。2006年重新开放后展出3世纪至19世纪的拜占庭艺术作品（拜占庭博物馆），中世纪早期至18世纪的意大利和德国雕塑作品，从公元前7世纪小亚细亚开始铸造货币开始一直到20世纪的硬币和勋章等。(http://zh.wikipedia.org/wiki/博物館島)
三角形的圆顶建筑是伯德博物馆。 右边是帕加马博物馆。
诚征：2002年博物館島极限片。

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今年10月我们旅行到柏林参观了11家博物馆。钢好伯德博物馆有特展 Renaissance
Faces《文藝復興時期的面孔》。画展主角是从波兰来的意大利古代女子，目前收藏于波兰克拉科夫恰尔托雷斯基博物馆的 列奥纳多·达·芬奇 画作 Lady with an Ermine《抱银鼠的女子》。作品中的女子是米兰公爵卢多维科·斯福尔扎的情妇切奇利娅·加莱拉尼。(http://zh.wikipedia.org/wiki/抱银鼠的女子)
画展禁止摄影。

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安东尼奥·德尔·波拉约洛 (Antonio del Pollaiolo) 《年轻女子肖像》1429/1433年1月17日－1498年2月4日，又名 安东尼奥·波拉约洛 (Antonio Pollaiolo)  或 安东尼奥·迪·雅格布·波拉约洛（Antonio di Jacopo Pollaiuolo）。他是一位意大利文藝復興早期的画家、雕塑家、雕刻家、冶金匠。 他的弟弟是 皮耶罗·德尔·波拉约洛 (Piero del Pollaiolo)，两兄弟经常合作。
德国柏林画廊（Gemäldegalerie）借。

The painting shows a young woman wearing an exquisite brocade dress. Although at first glance a half-length portrait is suggested, the subject's posture indicates that she is sitting in the marble embrasure of a window or balcony. A bright blue sky fills almost the entire background and contrasts with the pale flesh-tint to give the picture its distinctive colour-harmony.

The painter has shown an incredibly sure touch in bringing out the essential features of the young woman's face in profile. The features are delineated with the minimum of detail. The pattern of the brocade dress, depicted in the plane, underlines the medallion-like character of the picture. The emphatic use of line and the clarity of the contrasting colour-surfaces have always been regarded as typical of the Florentine style, but opinions differ as to the identity of the master.

The attribution to Domenico Veneziano we owe to Wilhelm Bode; before he purchased the portrait it had been attributed to Piero della Francesca. Latterly, the view has gained ground that this portrait was the work of Antonio Pollaiuolo. However, it is alternatively attributed to Alessio Baldovinetti. (http://www.wga.hu/html/p/pollaiol/antonio/y_woman1.html)

画展禁止摄影。

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Domenico Ghirlandaio, 《老人与男孩》"Old Man with a young boy" circa 1490.
多米尼哥·基尔兰达约（Domenico Ghirlandaio）1449年－1494年1月11日，全名 多米尼哥·迪·托马索·迪·科拉多·迪·杜佛· (Domenico di Tommaso di Currado di Doffo Bigordi)。他是一位意大利文藝復興早期的佛罗伦萨画家。
法国巴黎卢浮宫借。

An old man seated by a window holds in his arms a child whose delicate features are framed by blond ringlets. The man's gentle, benevolent smile and the child's trusting gaze convey their mutual affection. At the same time there is a striking difference in the way each is portrayed: shown in three-quarter view, the old man, recognizable as a Florentine patrician by the cappuccio on his shoulder, is shown with uncompromising realism, the light coming from the right enabling the painter to detail the gray hair, the wart on the forehead, the wrinkles around the eyes, and, especially, the nose deformed by rhinophyma (鼻赘). This image of age and the unsightliness induced by disease is in total contrast with the unsullied profile of the child, with his narrow nose and dainty mouth. (http://www.louvre.fr/llv/oeuvres ... 110&bmLocale=en)

画展禁止摄影。

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安德里亚 迪 阿劳基 或 平图里基奥《男孩肖像》德国德累斯顿 历代大师画廊（Gemäldegalerie Alte Meister）借。

Andrea d'Aloigi da Assisi (1480 - 1521), called L'Ingegno, was an Italian Renaissance painter. A native of Assisi, he is said by biographer Giorgio Vasari to have been a fellow-pupil with Raphael under Perugino, and to have assisted the latter in the Collegio del Cambio at Perugia, at Assisi, and in the Sistine Chapel. Some figures of Moses Leaving to Egypt in the latter have been attributed to him. (http://en.wikipedia.org/wiki/Andrea_di_Aloigi)

Bernardino di Betto, called Pintoricchio or Pinturicchio (1454–1513) was an Italian painter of the Renaissance. He acquired his nickname, Pintoricchio ("little painter"), because of his small stature, and he used it to sign some of his works. He was born in Perugia, the son of Benedetto or Betto di Blagio. According to Vasari, Pinturicchio was a paid assistant of Perugino. The works of the Perugian Renaissance school are very similar; and paintings by Perugino, Pinturicchio, Lo Spagna, Andrea d'Aloigi, and a young Raphael may often be mistaken one for the other. Portrait of a Boy, c. 1500, in the Gemäldegalerie Alte Meister (Dresden), previously attributed to him is now presumably attributed to Andrea di Aloigi. (http://en.wikipedia.org/wiki/Pinturicchio)

画展禁止摄影。