《歌德對話錄》中多次談到 討論彼得‧保羅‧魯本斯，沒畫，無法懂得。
AI 概述
在歌德與艾克曼的對話中，歌德談到了他對彼得·保羅·魯本斯的欽佩，尤其強調了魯本斯風景畫中「男子漢氣概」以及對光色的動態運用。歌德收藏了一幅魯本斯的風景畫，並經常拿出來闡述觀點，展現藝術家如何運用光線營造自然的氛圍與活力。
對話內容：
風景畫大師：歌德認為魯本斯是一位傑出的風景畫家，尤其欣賞他捕捉自然能量和精神的能力。
光的作用：歌德對魯本斯對光的描繪尤其印象深刻，這也是他在色彩研究中非常感興趣的主題。他注意到魯本斯風景畫中的雙重光線，這使其更加生動活潑。
物證：埃克曼提到歌德家中有一幅魯本斯的風景畫，他經常將其展示給客人欣賞。
藝術力量的象徵：對歌德而言，魯本斯的風景畫代表著強大、充滿活力和陽剛的藝術態度。
意義：
這段對話展現了歌德對古典藝術的深刻理解和欣賞，即使他是浪漫主義的擁護者。
它也展現了視覺藝術在歌德思想生活中的重要性，以及他如何運用藝術來表達他對自然、色彩和情感的思考。
In Goethe's Conversations with Eckermann, Goethe discusses his admiration for Peter Paul Rubens, particularly noting the "manly mind" and the dynamic use of light and color in Rubens' landscapes. Goethe had a landscape painting by Rubens in his possession and often brought it out to illustrate points, showing how the artist used light to create mood and dynamism in nature.
Details from the Conversations:
- Goethe considered Rubens a significant landscape artist, highlighting his ability to capture the energy and spirit of nature.
- Goethe was particularly impressed by how Rubens depicted light, which was a subject of great interest to him in his own studies of color. He noted the double lighting in Rubens' landscapes, which contributed to their vibrancy.
- Eckermann mentions that Goethe had a landscape painting by Rubens in his home, and that he would often display it for his guests to observe.
- For Goethe, Rubens' landscapes represented a powerful, energetic, and masculine approach to art.
Significance:
- This exchange shows Goethe's deep understanding and appreciation of classical art, even as he was a champion of Romanticism.
- It also demonstrates the importance of visual art in Goethe's intellectual life and how he used art to illustrate his thoughts on nature, color, and emotion.
摩根圖書館與博物館
2024年9月30日
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彼得·保羅·魯本斯仍然是西方藝術界最具創新精神的畫家之一，他對聖經事件或狩獵場景的戲劇性描繪至今仍是現代傑作的靈感源泉。魯本的素描作品也展現了他精湛的技藝，儘管他的畫作通常以超現實的尺幅創作（許多作品長達數米），但這種私密的繪畫媒介往往揭示了他無與倫比的繪畫才能的起源。
本作便是如此：這幅充滿力量的肌肉男裸體畫堪稱傑作，是對魯本斯著名畫作《獅子坑中的丹尼爾》（現藏於華盛頓特區國家美術館）中《舊約聖經》人物丹尼爾的習作。這幅名為《坐著的青年男子》的作品是摩根圖書館百年珍藏精選中的第77件收藏品。
魯本斯以驚人的自然主義和神韻描繪人物，展現了近乎無與倫比的能力。他運用細膩而堅定的線條，輔以微妙的陰影，描繪出一個令人震撼的景象：根據《聖經》記載，一個絕望的男人被命令在飢餓的獅子窩中過夜。
魯本斯很可能以真人模特兒為原型創作了這個令人敬畏的人物，這是他經常使用的方法，也是他傳授給學生的方法。魯本斯在1618年4月寫給英國駐海牙大使達德利·卡爾頓爵士的信中，將這幅畫稱為「眾多獅子中的丹尼爾，取材於生活」。魯本斯很可能指示他的年輕模特兒擺出與穆齊亞諾的《聖傑羅姆》完全相同的姿勢，並採用與希臘化原型相似的表情。因此，這幅畫作有力地體現了魯本斯的哲學理念，正如他在約1608年未發表的論文《雕塑的模仿》（De imitatione statuarum）中所表達的那樣：好的藝術應該始終回應古老的藝術，但最終總是模仿自然。 ——文字由伊洛娜·範圖伊寧（Ilona van Tuinen）撰寫，莎拉·W·馬洛里（Sarah W. Mallory）供稿。
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彼得‧保羅‧魯本斯，1577-1640年，《青年裸體坐像》，17世紀。 I，232。摩根圖書館與博物館，I，232。攝影：史蒂文·H·克羅索特（Steven H. Crossot）。
#MorganLibrary #Morgan100 #WorksOnPaper #drawingsketch #17thCentury #Rubens #PeterPaulRubens
Peter Paul Rubens remains among the most innovative painters in Western art, his dramatic depictions of biblical events or hunting scenes still an inspiration for modern-day masterworks. Ruben's drawings are also superlative expressions of his skill, for though the artist's paintings are often done on larger-than-life scale (many measuring meters in length), the intimate medium of drawing often reveals the genesis of his inimitable painterly prowess.
Such is the case with the present artwork: a tour de force, this powerful drawing of a muscular male nude is a study for the Old Testament biblical figure of Daniel in Rubens' celebrated painting Daniel in the Lion's Den (National Gallery of Art, Washington, D.C.). This piece, entitled "Seated Male Youth" is item #77 of the Morgan’s 100 Centennial Collection Highlights.
The artist's nearly unparalleled ability to draw the human form with breathtaking naturalism and verve is here exemplified; using a delicate but firm line, alongside subtle shading, Rubens conjures a striking vision of a desperate man who, according to the bible, was ordered to spend the night in a den of hungry lions.
Rubens likely drew this formidable figure from a live model, a practice he frequently employed and one that he would teach to his pupils. Rubens famously listed this painting in a letter of April 1618 to Sir Dudley Carelton, the English ambassador in The Hague, as “Daniel among many lions, taken from life.” It seems likely that Rubens instructed his young model to pose in exactly the same position as Muziano's St. Jerome, and to adopt an expression similar to the Hellenistic prototype. This drawing therefore provides a strong example of Rubens's philosophy, as he expressed in his unpublished treatise 'De imitatione statuarum,' of ca. 1608, that good art should always respond to old art, but ultimately always imitate nature. -- Text from Ilona van Tuinen with contributions by Sarah W. Mallory.
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Peter Paul Rubens, 1577-1640, Seated Nude Youth, 17th century. I, 232. The Morgan Library & Museum, I, 232. Photography by Steven H. Crossot.
Svetlana Alpers The Making of Rubens 1996；製造魯本斯2019
- 作者： （美）斯韋特蘭娜·阿爾珀斯
- 出版社：商務印書館
- 出版日期：2019/0
內容簡介 · · · · · ·
魯本斯是古典主義繪畫大師，是巴洛克時代的開創者之一。《製造魯本斯》以盧浮宮藏品《露天集市》為基點，展示了魯本斯波瀾壯闊的藝術生涯；通過“酒神狂歡”這一主題繪畫，揭示了魯本斯的個人旨趣與宮廷贊助人之間和諧微妙的關係。本書還重點討論了魯本斯對後世的影響：在法國皇家藝術學院，推崇色彩的“魯本斯派”與註重造型平衡的“普桑派”分庭抗禮，一道構成了18世紀歐洲藝術和藝術史的發展脈絡。
通過本書，讀者可以了解藝術家的發展歷程、藝術家作為個體在整個社會關係中對自我的定位，以及歐洲古代時局的變更與藝術發展之間的重要聯繫。此外，本書闡釋的將魯本斯“製造”成藝術大師的諸多因素，值得後人借鑒和討論。
作者簡介 · · · · · ·
斯韋特蘭娜•阿爾珀斯（Svetlana Alpers，1936— ），美國著名藝術史家，1965年獲得哈佛大學博士學位，後長期任教於加利福尼亞大學伯克利分校，主要研究荷蘭黃金年代的藝術作品。她對於藝術家名望與文化資本之間關係的研究為藝術史的書寫方式提供了新的方向，被認為是現代世界藝術史學的重要構成者之一。主要著作有《描繪的藝術——17世紀的荷蘭藝術》《倫勃朗的企業——工作室與藝術市場》《藝術的煩惱——委拉斯克斯與他人》等。
龔之允，英國蘇賽克斯大學藝術史博士，現擔任該校藝術史系和中文系講師，同時也是英國獨角獸出版集團學術總監，《中國藝術》《中國美術》和《三聯生活周刊》期刊專欄作家。主要研究方向為中西藝術交流史、清代宮廷西洋風藝術、歐洲中國風藝術，以及中國當代藝術史學理論。著有《圖像與範式——早期中西繪畫交流史（1514—1885）》，編著《視覺的調適...
目錄 · · · · · ·
001前言
001緒論
005第一章佛蘭德語境中的繪畫：農民的《露天集市》
057第二章製造一種魯本斯趣味
091第三章肉體中的創新：《酒醉的西勒諾斯》
145注釋
157圖片目錄
163索引
001緒論
005第一章佛蘭德語境中的繪畫：農民的《露天集市》
057第二章製造一種魯本斯趣味
091第三章肉體中的創新：《酒醉的西勒諾斯》
145注釋
157圖片目錄
163索引
View InsidePrice: $30.00July 25, 1996
186 pages, 6 3/4 x 8 1/4
66 b/w + 60 color illus.
ISBN: 9780300067446
Paper
Also Available in:
ClothOut of Print
Rubens has long been considered a remarkably successful, prolific, and fleshly painter, a frequenter of the courts of the great. He is more admired than loved in our time, in contrast to the troubled figure of Rembrandt. This book takes up basic questions about Rubens's art and life, studies two of his bacchic paintings in detail, and discovers him in a less easy and more identifiably modern predicament.
The first problem Svetlana Alpers addresses is one of the relationship between making art and national consciousness. Why and how did Rubens paint the reveling Flemish peasants in the great Louvre Kermis? The circumstances, tone, and feeling of this picture are investigated and found to involve deep ambivalences that are political, social, and aesthetic.
The second problem is that of art and its consumption. Beginning with Watteau, the making of a Rubensian art is traced through the taste for Rubens in the eighteenth century in France, where many of the pictures from his own collection were to be found. In the writings of Roger de Piles and in the works of the painters to follow, a binary system of taste emerges for Rubens as contrasted to Poussin. Critical distinctions come to be fashioned in terms of gender.
Finally Alpers considers creativity itself and how, as a man and as a painter, Rubens could have seen his own generative talent. An analysis of his Munich Silenus—fleshy, intoxicated, and disempowered as a condition of producing his songs—reveals a sense of the creative gift as humanly indeterminate and equivocal.
Fully illustrated with many drawings and paintings in color, this book complicates and deepens the interest of Rubens and of his works.
The first problem Svetlana Alpers addresses is one of the relationship between making art and national consciousness. Why and how did Rubens paint the reveling Flemish peasants in the great Louvre Kermis? The circumstances, tone, and feeling of this picture are investigated and found to involve deep ambivalences that are political, social, and aesthetic.
The second problem is that of art and its consumption. Beginning with Watteau, the making of a Rubensian art is traced through the taste for Rubens in the eighteenth century in France, where many of the pictures from his own collection were to be found. In the writings of Roger de Piles and in the works of the painters to follow, a binary system of taste emerges for Rubens as contrasted to Poussin. Critical distinctions come to be fashioned in terms of gender.
Finally Alpers considers creativity itself and how, as a man and as a painter, Rubens could have seen his own generative talent. An analysis of his Munich Silenus—fleshy, intoxicated, and disempowered as a condition of producing his songs—reveals a sense of the creative gift as humanly indeterminate and equivocal.
Fully illustrated with many drawings and paintings in color, this book complicates and deepens the interest of Rubens and of his works.
Svetlana Alpers, professor of the history of art at the University of California, Berkeley, is the author of The Decoration of the Torre de la Parada, The Art of Describing, Rembrandt's Enterprise, and, with Michael Baxandall, Tiepolo and the Pictorial Intelligence.
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