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本帖最后由 ngsunyu 于 2020-4-19 01:13 编辑
根特美术博物馆(Museum voor Schone Kunsten)位于圣巴夫大教堂以南,向南步行约 2 公里。
在我们访问期间根特祭坛画内层上半部在圣巴夫大教堂(荷兰语:Sint Baafskathedraal)。根特祭坛画内层下半部副本也在圣巴夫大教堂。
根特祭坛画内层下半部正本在根特美術博物馆。要再次经过多年彻底修缮后才会重新回到圣巴夫大教堂中。
2月1日至4月30日在根特美术博物馆举行 “凡·艾克:一场光学革命“ 画展。
根特圣彼得(Gent-Sint-Pieters)火车站 位于根特美术博物馆西南方,步行约 1 公里。
根特美术博物馆藏品包括:
耶罗尼米斯·博斯的《圣葉理諾》 绘于約1485年,请参考 耶罗尼米斯·博斯(荷蘭語:Jheronimus Bosch) 逝世(1516年8月)500周年 纪念 第 6 楼。
耶罗尼米斯·博斯的《耶稣背着十字架》 绘于約1510年。
《耶稣背着十字架》是耶罗尼米斯·博斯(Hieronymus Bosch, 荷蘭語:Jheronimus Bosch)的晚期作品之一 或是在博斯去世后另有一名 “博斯风格” 画家的作品。
The artist has stripped this intriguing composition, in which the struggle between good and evil is the central theme, of any sense of space. Christ’s head is surrounded by a dynamic group of grotesque “tronies” or faces. While the composition may seem chaotic at first glance, its structure is actually very rigid and formal. Christ’s head is positioned precisely at the intersection of two diagonals. The beam of the cross forms one diagonal, with the figure of Simon of Cyrene at the top left, and with the “bad” murderer to the bottom right. The other diagonal connects the imprint of Christ’s face on Veronicas sudarium at the bottom left with the penitent thief, at the top right. He is attacked by an evil charlatan or a Pharisee and an evil monk, a clear allusion by Bosch to the religious fanaticism of his era. The grotesque heads remind us of the masks that are often used in passion plays as well as of Leonardo da Vinci’s caricatures. By way of contrast, the softly modelled face of Christ is serene. He is the Suffering Christ, who has been abandoned by everyone and who shall triumph over all evil in the world. This representation ties in perfectly with the ideas of the lay brotherhoods, of which Bosch was also a member. Although the attribution to Bosch is still disputed, this painting undoubtedly is one of the most hallucinatory scenes ever created in the history of Western art. (mskgent.be)
在《耶稣背着十字架》中 耶罗尼米斯·博斯 描绘了耶稣基督在汹涌的人群中,用邪恶的胜利面孔紧紧地填满了他周围的空间。博斯认为生活的阴暗,非理性和基本性质。他不仅表达了他的世界观,他的生活感,还给了他道德和道德的评价。
对于博斯来说,基督的形象是无限怜悯,属灵纯洁,忍耐和简单的化身。他被强大的邪恶势力所反对。他们使他遭受可怕的痛苦,身体和精神。基督向人显示了克服一切困难的榜样。
这幅画被认为是博斯后期作品。这个以特写镜头显示的场景有助于达到使人们脸部弯曲的无情愤怒的效果。但基督的宁静面孔,在负担的重压下弯曲,以及他的形象,印在圣维罗尼卡帆布面料的背景上,直接看着观众。面对他的命运,基督是无动于衷和无动于衷的,而强盗,也被判处死刑,脸色苍白,充满恐惧。在这项工作中,博斯采用了一种特殊的矫饰风格,然后在安特卫普成为时尚。
到成熟期结束时,博斯拒绝摆放着小动人的作品,并且已经在新的创作层面上回归到他早期作品的简单结构,大型和浅色调。绘画《耶稣背着十字架》的指责取向对观众的影响最大。Fieran写到了这件事:”人类在这里萎缩,一切都是肥胖的。艺术家以讽刺的方式倍增低额头,厚嘴唇,钩喙,破鼻子,双下巴和三重下巴。因此,他创造了几乎愚蠢,窒息,残忍的临床图像。 ,怯懦,白痴,克汀病等。野兽的本质是显而易见的。” 凭借其艺术品质,《耶稣背着十字架》与所有风景如画的经典相悖。
博斯描绘了这一场景,其中的空间已经与现实脱节。头部和躯干从黑暗中突出,在黑暗中消失。但无论博斯创造什么,他都从不琐碎或粗鲁。丑陋,无论是外在的还是内在的,它都转化为某种更高的审美范畴,即使在六个世纪之后,它也会继续激发思想和情感。(携带十字架 – Hieronymus Bosch from cn.painting-planet.com)
Christ Carrying the Cross is a painting attributed to a follower of Hieronymus Bosch. It was painted in the early 16th century, presumably between 1500 and 1535. The work is housed in the Museum of Fine Arts in Ghent, Belgium.
The work was bought by the Museum of Fine Arts, Ghent in 1902, and was restored in 1956–1957. As for all Bosch related works, the dating is uncertain, although most art historians assigned it to his late career. The catalog of the Bosch exhibition held in Rotterdam in 2001 assigned it 1510–1535, attributing the execution to an imitator. According to one of the authors, Bernard Vermet, that it is not as typical for Bosch is generally accepted and he finds it hard to believe that it was painted by the same painter as the Christ Crowned with Thorns (Bosch, London) in the National Gallery in London. Moreover the colours remind him of the manierists of the 1530' and he relates the work to the Triptych of the Passion in Valencia and the Christ before Pilate in Princeton, works that were definitely painted after the death of Bosch. Since then the rejection has been accepted by Stephan Fischer[3] and disputed by Fritz Koreny. In October 2015 the Bosch Research and Conservation Project, that is doing technical research on most of Bosch's paintings since 2007, confirmed they reject the attribution to Bosch as well and consider it to be made by a follower. The museum's director was quoted on the same occasion as stating that if it was not by Bosch, then by a genius even greater than Bosch.
The work depicts Jesus carrying the cross above a dark background, surrounded by numerous heads, most of which are characterized with grotesque faces. There are a total of eighteen portraits, plus one on Veronica's veil. Jesus has a woeful expression, his eyes are closed and the head is reclinating.
In the bottom right corner is the impenitent thief, who sneers against three men who are mocking him. The penitent thief is at top right: he is portrayed with very pale skin, while being confessed by a horribly ugly monk.
The bottom left corner shows Veronica with the holy shroud, with her eyes half-open and the face looking back. Finally, at the top left is Simon of Cyrene, his face upside upturned. (en.wikipedia.org/Christ Carrying the Cross (Bosch, Ghent) |
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