追寻RONALD 极限片中 荷兰名胜古迹 与 艺术杰作 的足迹 (in the footsteps of .....)

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雅各布·伊萨克松·范勒伊斯达尔（Jacob Isaakszoon van Ruisdael [或拼作Ruysdael]，约1628年－1682年3月14日）是著名的荷兰风景画家。(zh.wikipedia.org/雅各布·伊萨克松·范勒伊斯达尔)

《从西北方远观哈勒姆》有五個相似但略有不同的版本。極限版藏於蘇黎世美術館（Kunsthaus Zürich）。另一版藏於阿姆斯特丹國家博物館。又一版藏於莫瑞泰斯皇家美术馆（荷蘭語：Mauritshuis)。還有一版藏於德国柏林畫廊（Gemäldegalerie）。再有一版藏於美国加州聖地牙哥 Timken 美術館 (Timken Museum of Art）。(nl.wikipedia.org/Gezicht op Haarlem met bleekvelden) (en.wikipedia.org/View of Haarlem with Bleaching Fields)

《1696年的哈勒姆（荷蘭語：Haarlem)  大广场（荷蘭語：Grote Markt）与 圣巴弗教堂（St.-Bavokerk）》请去十三楼。2019年的哈勒姆 圣巴弗教堂 请去十四楼。

Foreigners experience the flat Dutch landscape as having a straight, low horizon extending under a vast sky with billowing cumulus clouds. This is how Ruisdael painted the Haarlem skyline in the distance, recognizable by the high roof of St Bavo’s. Lengths of cloth bleaching in the sun lie at the foot of the dunes in the foreground. The Haarlem linen industry relied on the pure dune water. (Rijksmuseum.nl)

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Pieter Jansz。Saenredam（1597年6月9日-1665年5月31日埋葬）是荷兰黄金时代的画家之一，以装潢简单的新教教堂内部的画作而闻名，例如《阿森代尔夫特的Sint-Odulphuskerk 教堂内部》。此畫現藏於阿姆斯特丹國家博物館。

Pieter Jansz. Saenredam (9 June 1597 - buried 31 May 1665) was a painter of the Dutch Golden Age, known for his distinctive paintings of whitewashed church interiors such as Interior of St Bavo's Church in Haarlem and Interior of the Sint-Odulphuskerk in Assendelft. (en.wikipedia.org/Pieter Jansz. Saenredam)

Interior of the Sint-Odulphuskerk in Assendelft is a painting by the Dutch artist Pieter Jansz. Saenredam (1597-1665), showing the interior of a church in Assendelft. It is now in the Rijksmuseum in Amsterdam.
The artist had decided to specialize in architectural interiors in 1628 and made his first sketches for this work in 1633-1634. He then used these as the basis for a 1643 preparatory drawing to establish the perspective, finally completing the painting itself on 2 October 1649, as shown by the date painted on the bench to the left.
(en.wikipedia.org/Interior of the Sint-Odulphuskerk in Assendelft)

Serene religious feelings in an intimate and tranquil setting as expressed by this Calvinist painter in this sober Dutch church of his hometown , in which only the voice of the speaker on the pulpit counts.

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扬·哈菲克松·斯特恩（荷蘭語：Jan Havickszoon Steen，约1626年 – 1679年2月3日下葬）是17世纪（即荷兰黄金时代）荷兰风俗画油画家。他的作品以心理洞察力、幽默感以及丰富的色彩为特点。

日常生活是斯特恩的主要绘画题材。他画的许多风俗场面，比如《孩子们教小猫跳舞》（荷蘭語：Kinderen leren een poes dansen），其活泼热烈已达到混乱的地步。由此而来的荷兰语谚语een huishouden van Jan Steen即“一个扬·斯特恩家庭”意为一个混乱的场景。他画中微妙的暗示看来表示斯特恩旨在提醒观众，而并非请他仿效这种行为。斯特恩的许多油画都和老的荷兰谚语或文学有关。(zh.wikipedia.org/扬·斯特恩)

These children are up to mischief: they are teaching a cat to dance to the music of a shawm, a 17th-century wind instrument. While they are clearly enjoying them-selves, the cat screeches in protest, joined by a barking dog. The old man at the window angrily rebukes the children: should they not be learning something rather than giving dancing lessons to a cat? (Rijksmuseum.nl)

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扬·哈菲克松·斯特恩（荷蘭語：Jan Havickszoon Steen，约1626年 – 1679年2月3日下葬）是17世纪（即荷兰黄金时代）荷兰风俗画油画家。他的作品以心理洞察力、幽默感以及丰富的色彩为特点。

日常生活是斯特恩的主要绘画题材。他画的许多风俗场面，比如《圣尼古拉斯节的盛宴》（荷蘭語：Het Sint-Nicolaasfeest）。(zh.wikipedia.org/扬·斯特恩)

The feast of St Nicholas takes place in December. In the Netherlands, it has been celebrated in the same way for centuries. Good children receive gifts from the saint. The little girl in the foreground, for instance, has a bucket full of treats. Naughty children, like the wailing boy at the left, get only a switch (a bundle of twigs) in their shoe. Jan Steen was a born storyteller. He succeeded in incorporating all of the elements of the popular feast in this picture. (Rijksmuseum.nl)

The Feast of Saint Nicholas (Dutch: Het Sint-Nicolaasfeest, c. 1665–1668), is a painting by Dutch master Jan Steen, which can now be found in the Rijksmuseum in Amsterdam. It measures 82 x 70.5 cm. The picture, painted in the chaotic Jan Steen "style," depicts a family at home on December 5, the night celebrated in the Netherlands as the Feast of Saint Nicholas, or Sinterklaas.

The focal point of the painting is the youngest daughter of the family, a golden-child, painted, in fact, in a golden smock and showing golden locks. She has behaved all year, and Saint Nicholas has rewarded her by stuffing her shoe with a doll and other treats, which she carries in her bucket. The "doll" is a representation of John the Baptist. The figure wears what appears to be a camel hair shirt and holds a long cross, both symbols tied to John the Baptist. Being the patron saint of epilepsy, the little girl's insistence on holding on to the figure may suggest she suffers from childhood convulsions or epilepsy. She is in stark contrast to her elder brother, standing to her right, who is sobbing, while another brother looks on, laughing. Apparently, the elder brother has been naughty, and his shoe, held up by an elder sister behind him, was left empty. Still there is hope for the sobbing boy. Hidden in the background, almost obscured by the draperies, his grandmother seems to beckon to him—perhaps she is hiding a gift for him too, behind the heavy curtains.
In the background, a boy holds a young child and points out to the youngster the chimney through which Saint Nicholas brought the gifts. His other brother is already singing a gleeful song of thanksgiving in appreciation of the gifts he has received.
The lower right hand corner of the painting actually reveals another popular style of painting. A basket of assorted traditional Christmas sweetmeats like honey cake, gingerbread, waffles, nuts, and apples is actually a miniature still life within the greater painting. Even more examples of the specially celebratory feasts of Christmastime appear on the left side of the foreground. The apple and the coin are references to the old tradition of giving hidden apples and coins to friends as presents. A special diamond shaped caked called a duivekater, leans up against the table and marks the special occasion. In another painting by Steen, the Leiden baker, this same pastry also appears.
The Child near the chimney is holding a symbol of the struggle between Catholics and Protestants, a gingerbread man in the shape of St. Nicholas. The delicacy, still enjoyed around the fifth of December, was seen as an example of Catholic worship of saints and was not approved of by Protestant authorities. In the seventeenth century, the baking of such figures of saints (especially St. Nicholas) was banned. In 1655 in the city of Ultrecht an ordinance was passed which forbade “the baking of likenesses in bread or cake”. (en.wikipedia.org/The Feast of Saint Nicholas)

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弗兰斯·哈尔斯(Frans Hals)是荷兰黄金时代伟大的大师之一。他的肖像画和“schutterstukken”(公民警卫群体肖像画)是世界闻名的。与他同时代的画家相比，他的风格是宽松而活泼的。他的大画笔绘画几乎带给他的画生命力。(Holland.com)

《快乐的酒鬼》，（荷蘭語：De vrolijke drinker ) 是一幅由荷蘭黃金時代畫家弗兰斯·哈尔斯绘于1628年－1630年的油畫。此畫現藏於阿姆斯特丹國家博物館。

This militiaman merrily raises his glass to toast us – who would not wish to join him? The execution is just as free and easy as the sitter himself: the swift, spontaneously applied brushstrokes enhance the portrait’s sense of liveliness and animation. The man actually seems to be moving. This bravura painting style ensured the continued success of Frans Hals. (Rijksmuseum.nl)

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弗兰斯·哈尔斯(Frans Hals)是荷兰黄金时代伟大的大师之一。他的肖像画和“schutterstukken”(公民警卫群体肖像画)是世界闻名的。与他同时代的画家相比，他的风格是宽松而活泼的。他的大画笔绘画几乎带给他的画生命力。(Holland.com)

《混血儿》，（荷蘭語： Mulatto ) 是一幅由荷蘭黃金時代畫家弗兰斯·哈尔斯绘于1627年的油畫。此畫現藏於德国莱比锡（德語：Leipzig) Museum der bildenden Künste。阿姆斯特丹国家博物馆借来展于伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。

The star of 17th-century comic plays, Mr. Peeckelhaering was a comic actor who was the subject of two paintings by Frans Hals.

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《情书》（荷蘭語：De liefdesbrief）是一幅由荷蘭黃金時代畫家揚·弗美爾繪成的油畫。此畫現藏於阿姆斯特丹國家博物館。

Vermeer chose an unusual vantage point for this painting. From a dim space in the foreground, a glimpse is afforded of another room with a domestic scene. An elegantly dressed woman looks up expectantly at a maidservant, who has just handed her a letter. The seascape on the wall behind them may well allude to the epistle’s subject: during the 17th century, the sea was often compared to love, and the lover to a ship. (rijksmuseum.nl)

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《读信的蓝衣女人》（荷蘭語：Brieflezende vrouw in het blauw）是一幅由荷蘭黃金時代畫家揚·弗美爾繪成的油畫。此畫現藏於阿姆斯特丹國家博物館。

Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light. She is still wearing her blue night jacket. All of the colours in the composition are secondary to its radiant lapis lazuli blue. Vermeer recorded the effects of light with extraordinary precision. Particularly innovative is his rendering of the woman’s skin with pale grey, and the shadows on the wall using light blue. (Rijksmuseum.nl)

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《倒牛奶的女僕》（荷蘭語：De Melkmeid或Het Melkmeisje）是一幅由荷蘭黃金時代畫家揚·弗美爾繪成的油畫，主題是一名倒牛奶的廚房女僕。此畫現藏於阿姆斯特丹國家博物館，是镇馆之宝之一。(zh.wikipedia.org/倒牛奶的女僕)

A maidservant pours milk, entirely absorbed in her work. Except for the stream of milk, everything else is still. Vermeer took this simple everyday activity and made it the subject of an impressive painting – the woman stands like a statue in the brightly lit room. Vermeer also had an eye for how light by means of hundreds of colourful dots plays over the surface of objects. (Rijksmuseum.nl)

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这幅画是从西班牙馬德里的普拉多博物館借来的1644年《宫廷小丑El Primo的肖像, 西班牙語： El bufón el Primo》。在1630年代和1640年代，委拉斯开兹创作了一系列矮人和小丑的肖像。通过微不足道的身影，画家看到了这些人的复杂精神世界，被剥夺了自然。他描绘了一个没有阴影的嘲笑，简洁明了，他揭示了他们的人物，心态，经历世界，达成悲伤的悲剧。高清晰的额头，聪明的眼睛着迷，让你看着小丑的非凡面孔。绰号”El Primo”的意思是”堂兄”。也许矮人是委拉斯开兹的亲戚，或者也许这个名字出现是因为小丑特权不在国王面前脱帽，只允许最高贵族的代表，他们的国王称为”表兄弟”。(cn.painting-planet.com)

几年前，当我参观普拉多博物馆时，摄影是被禁止的。

The Buffoon El Primo 1644. Oil on canvas Not on display
The chromatic complexity, fluid brushstroke, location of the sitter in an undefined space and his direct gaze make this one of the portraits of dwarves by Velázquez that most directly connects with the viewer. Traditionally thought to depict Sebastián de Morra, the subject has recently been identified as the court buffoon El Primo who accompanied Philip IV to Aragon in 1644 where Velázquez painted him.

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在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。两幅画并排展出。一幅画是 17世纪荷兰黄金时代画家伦勃朗 完成于1662年的群体肖像名画《制布商协会之质量检察官员》現收藏在荷兰首都阿姆斯特丹的荷兰国家博物馆 。 有关详细信息，请参考第22楼。一幅画是17世纪西班牙黄金时代画家 委拉斯開茲完成于1630年的罗马神话名画《火神的熔爐》現收藏在西班牙首都马德里的 普拉多博物館 。有关详细信息，请参考第29~30楼。  明眼的访客可以一目了然看出这不是策展人的理想组合。哪幅画是理想的组合? 当然是17世纪西班牙黄金时代画家 委拉斯開茲完成于1656年的宫廷生活名画《宫娥》現收藏在西班牙首都马德里的 普拉多博物館 。为什么《宫娥》比《 火神的熔爐》更佳？
第一, 《制布商协会之质量检察官员》与《宫娥》两幅画中人物是真有其人, 不是神仙。
第二,   也是最重要的关键类似点, 两幅画或多或少帶有複雜且難解的構圖，引起了關於實景與虛景的難題；並建構了觀察者與畫中人物間的微妙關係。《 火神的熔爐》中每个人都感到惊讶，因为太阳神阿波罗出现在他们的锻武廠中并公布隐私。《宫娥》中有几个人转移注意力，也许是因为國王與王后进入了房间，也许是因为觀畫者进入了房间。《制布商协会之质量检察官员》中每个人都转移注意力，也许是因为有旁人进入了房间。

为什么阿姆斯特丹国家博物馆沒有借到《宫娥》？  因为《宫娥》是普拉多博物館的 镇馆之宝。加上今年庆祝普拉多博物馆成立200周年。有关《宫娥》详细信息，请参考  普拉多博物馆 (西班牙语：Museo Nacional del Prado) 成立200周年 第十九楼。

后来我发现 本·卢克（Ben Luke）和我有相同的看法。

One unites one of Velázquez’s breakthrough paintings, made on his first visit to Italy, Vulcan’s Forge (1630) with Rembrandt’s The Syndics (1662) as evidence of their prowess in multi-figure compositions. But while each is a masterpiece of psychology and technique, as a pair they fall flat—Velázquez’s figures are full-length, semi-naked, thronging with Italian classical movement and mythological imagination; Rembrandt’s are seated at a table, austerely dressed, restrained in countenance, despite their evident human warmth. Perhaps a far more instructive companion for The Syndicswould have been Las Meninas, but, of course, Velázquez’s masterwork will never travel. (excerpts from Rembrandt-Velázquez: a match made in curatorial heaven by Ben Luke in the art newspaper)

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小心1938年的委拉斯开兹极限明信片大多是倒戳，因为他们的明信片是1938年以后版。请参考  普拉多博物馆 (西班牙语：Museo Nacional del Prado) 成立200周年 第十六楼。

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在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。这幅画是从西班牙馬德里的普拉多博物館借来的1630年委拉斯开兹《火神的熔爐, 西班牙語： Apolo en la Fragua de Vulcano》。 The painting depicts the moment when the god Apollo, identifiable by the crown of laurel on his head, visits Vulcan, who is found making weapons for war. The god Apollo tells Vulcan that his wife, Venus, is having an affair with Mars, the god of war. For this reason, the other figures in the room are looking in surprise at the god who has just appeared before them, some of them even opening their mouths to indicate surprise. (en.wikipedia.org/Apollo in the Forge of Vulcan)

几年前，当我参观普拉多博物馆时，摄影是被禁止的。

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两个画展时间不重叠，我们错过了国家博物馆的伦勃朗画展《All the Rembrandts》因为卢浮宫的达·芬奇画展更重要。

From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection. (rijksmuseum.nl)

在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。

Of the many exhibitions celebrating the Dutchman this year, “Rembrandt-Velázquez: Dutch and Spanish Masters” at the Rijks-museum in Amsterdam promised to be the best. The Rijksmuseum owns the most Rembrandts (it put all of them on its walls earlier in the year). And its partner on this show, the Prado (celebrating its own 200th anniversary), owns the most paintings by Velázquez. The prospect of these fabled institutions joining forces on a two-for-one of this caliber was as tantalizing as any of the year’s monographic anniversary exhibitions. (WashingtonPost.com)

这幅画是从西班牙的瓦倫西亞美術館（華倫西亞語：Museu de Belles Arts de València；西班牙語：Museo de Bellas Artes de Valencia）借来的1640年委拉斯开兹《自画像》。

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2019年2月15日，荷兰邮政为17世纪荷兰黄金时代画家伦勃朗 (Rembrandt 1606—1669)逝世350周年发行一套两枚自画像邮票，一枚邮票选用了伦勃朗在1634年绘制的《戴软帽自画像》。

From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection.