美术作品:根特祭坛画(双翼合拢)(又称神秘羔羊的崇拜)_Ghent Altarpiece (wings closed)(also known as The Adoration of the Mystic Lamb)-扬·凡·艾克

美术作品作者:扬·凡·艾克(Jan van Eyck)

根特祭坛(双翼合拢)(又称神秘羔羊崇拜)_Ghent Altarpiece (wings closed)(also known as The Adoration of the Mystic Lamb)-扬·凡·艾克

美术作品名称:根特祭坛画(双翼合拢)(又称神秘羔羊的崇拜)

(Ghent Altarpiece (wings closed)(also known as The Adoration of the Mystic Lamb))

美术作品作者:扬·凡·艾克(Jan van Eyck)

美术原作收藏国家:比利时(Belgium)

原作收藏方所在城市:比利时根特(Ghent)

原作收藏方:根特-圣巴伐利亚大教堂

Saint Bavo Cathedral – Ghent (Belgium – Ghent)

艺术家创作时间:1432

画家作画年龄:大约是42岁。

作品原作尺寸:无记录

美术作品绘制材质:人物油画 – 板面油画

赏析:

开放祭坛上最左边和最右边的亚当和夏娃的现实主义形象有力地震撼了当代的观赏者,当祭坛关闭时,这种风格延续在嵌板的外面。外部装饰显示Erithraean和Cumaean女预言家,先知撒迦利亚和弥迦,Jodocus的人物Vyd,捐赠,和他的妻子伊莎贝尔Borluut跪在两侧的两个纯灰色画(画在灰色像雕像)表示的圣施洗约翰福音传教士圣约翰,和报喜天使加百利和圣母玛利亚。报喜天使和圣母的由两个小板,一个表示的一个拱形的窗户望城市广场,和其他洗涤盆和大口水壶集合成一个利基和白色毛巾挂在铁路旁边。

一个显著的特点是各种图形的比例不一致:不少于四个变化的比例存在于羽翼的外部。在方法上也有差异;有些部分几乎是朴实无华的事实,另一些部分在方法上几乎是虚幻的。现实有三个层次:一个神圣主题(《天使报喜》)的叙事表现,两个高度真实的供者肖像和两个模拟雕塑。却有一种强烈的尝试对这些不同的元素通过一个统一的框架管理因素的光,是统一从右边所有的面板,并通过使用面板上部的天花板贯穿整个场景,传送,在较低的面板,相同的尖的三叶草拱门帧数据。

(左飘带)厄律提亚和库马的西布尔通过他们的预言与《天使报喜》有关。飘带上的文字指的是维吉尔。女预言家的拉丁名字写在框架上。

(右飘带)厄律提亚和库马的西布尔通过他们的预言与《天使报喜》有关。飘带上的文字指的是圣奥古斯丁。女预言家的拉丁名字写在框架上。

appreciate:

The realism of the figures of Adam and Eve at the far right and left on the open altarpiece struck contemporary viewers forcefully, and this style continues on the outside of the panels when the altarpiece is closed. The external decoration shows the Erithraean and Cumaean Sibyls, Prophets Zacharias and Micheas, the figures of Jodocus Vyd, the donor, and his wife Isabelle Borluut kneeling on either side of two grisaille (painted in gray to resemble statuary) representations of St. John the Baptist and St. John the Evangelist, and the Annunciation with the angel Gabriel and the Virgin Mary. The angel and the Virgin of the Annunciation are separated by two small panels, one with the representation of an arched window looking out upon a city square, and the other with a wash basin and ewer set into a niche and a white towel hanging from a rail beside it.

A striking feature is the disparity in the scale of the various figures: no less than four changes of scale exist of the outside of the wings. There are also disparities in approach; some parts are almost prosaically factual, others almost visionary in approach. Three orders of reality are present: a narrative representation of a sacred subject (the Annunciation), two highly factual donor portraits and two simulated sculptures. Yet there is a strong attempt to impose a uniform framework on these disparate elements through the governing factor of the light, which falls uniformly in all the panels from the right, and also through the use in the upper panels of a beamed ceiling running through the whole scene, and, in the lower panels, of the same cusped trefoil arches to frame the figures.

The Erythraean and Cumaean Sibyls are related to the Annunciation through their prophecies. The text on the floating ribbon refers to Virgil. The Latin name of the Sibyl is indicated on the frame.

The Erythraean and Cumaean Sibyls are related to the Annunciation through their prophecies. The text on the floating ribbon refers to St Augustine. The Latin name of the Sibyl is indicated on the frame.

根特祭坛(双翼合拢)(又称神秘羔羊崇拜)_Ghent Altarpiece (wings closed)(also known as The Adoration of the Mystic Lamb)-扬·凡·艾克
根特祭坛画(双翼合拢)(又称神秘羔羊的崇拜)-扬·凡·艾克插图(2)

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