———— 米开朗基罗(二) 卡西纳之战的草图 Battle of Cascina (central section),1505,Oil on panel, 77 x 130 cm,Holkham Hall, Norfolk Bastiano (Aristotile) Sangallo 复制的卡西纳之战画稿的中心部分 1504年的秋天,米开朗基罗受命为西格尼奥里亚宫画一个战斗场景,作为莱奥纳尔多的“安吉亚里之战”的“对手戏”。这个宏伟的计划因教皇朱利乌斯二世的紧急召唤而被迫终止,不得不说是整个艺术世界里最大的遗憾。所幸米开朗基罗的大型画稿于1505年2月部分完成,有一些草图幸存下来,如今散落在世界各地的博物馆里。 卡西纳战役壁画的草图是米开朗基罗早期作品的亮点。其中,士兵动作的复杂性达到了前所未有的程度,人物形体解剖的正确性,似乎超越了具体的个别的人,具有了某种不朽的特质。此外,描绘人物的视角显示出米开朗基罗风格倾向的变化——早期的人物主要是从正面的角度看到的,但这些人物似乎在从各个方向探索周围的空间,躯体描绘成不同方向的旋转运动,画材上开始使用黑色粉笔。此外还有一处亮点便是我们可以见到米开朗基罗素描中独特的阴影线条。这些线条使得其人物形象的内部修饰不同于丢勒及拉斐尔素描中探索有机状起伏运动的细长曲线,表现对象的圆形都被施以与之相矛盾的、短促而笔直的网状线条。 这些线条在米开朗基罗素描中随处可见,仿佛被赋予刀砍斧劈般鲜明特征的网状线条就像是米开朗基罗素描的风格特色。这些形象不会融合于空间,而是被封闭在自我造型体积的界限之中。所有的能量都在相互刺激,同时又在相互冲突的内在诸力中消耗殆尽。这似乎就是米开朗基罗的风格原则与技法偏好,使得他的作品永远是寓动于静。 我们看到,画家填补凹陷,省略突出部分,使单个形象或群像完全独立于周围空间,凝聚为一个简洁的量块。米开朗基罗曾经说过,好的雕像即使从山上滚落也不会损坏。虽然我们无法确定这是否真是他的原话,但它相当准确地表现了米开朗琪罗的艺术理想。 点击 Ludwig van Beethoven - Symphony No.5 In C minor,Op.67#I.Allegro con brio 欣赏米开朗基罗的作品 Battle Scene,1504,Pen and ink on paper, 179 x 251 mm, Ashmolean Museum, Oxford Study for the Battle of Cascina,c. 1504,Pencil and silverpoint on paper, 235 x 356 mm 此图归属问题尚有争议。 Figure Studies (verso),1503-04, Black chalk, 258 x 153 mm, Musée du Louvre, Paris Standing Male Nude, Seen from the Rear (recto),c. 1503, Pen and brown ink, 387 x 195 mm,Graphische Sammlung Albertina, Vienna Male Nude, Seen from the Rear (recto),1503-04, Black chalk, pen and brown ink, 260 x 170 mm, Ashmolean Museum, Oxford Nude Rider Mounting a Horse and a Male Nude (verso),1503-04, Black chalk, 260 x 170 mm, Ashmolean Museum, Oxford -Male Nude, Seen from the Rear, 1503-04,Pen and brown ink, 409 x 285 mm, Casa Buonarroti, Florence -Group of Three Male Nudes (recto), 1503-04, Black chalk over drawing in stylus, 332 x 174 mm,Musée du Louvre, Paris Studies of Nudes (verso),1503-04, Pen and brown ink, black chalk, 332 x 174 mm, Musée du Louvre, Paris Male Nude, Seen from the Rear (recto),1503-04,Black chalk, 218 x 174 mm, Fogg Art Museum, Cambridge Male Nude, Seen from the Rear (recto),1503-04,Black pencil, 282 x 203 mm,Musée du Louvre, Paris Two Nude Studies (recto),c. 1504, Pen and brown ink over drawing in black chalk, 270 x 196 mm,Graphische Sammlung Albertina, Vienna Male Nude, Seen from the Rear (verso), c. 1504, Black chalk, heightened with white, 270 x 196 mm, Graphische Sammlung Albertina, Vienna Seven Studies of a Raised Arm with Shoulder Joint,c. 1504,Pen and brown ink, black chalk, 226 x 315 mm,Graphische Sammlung Albertina, Vienna Sitting Male Nude (recto),c. 1504, Pen and brown ink, gray-brown wash, heightened in white, over drawing in stylus, 420 x 285 mm,British Museum, London Nude Study,1503-04,Pen and brown ink in two shades, 374 x 228 mm, British Museum, London Male Nude, Seen from the Right (recto), c. 1504, Black chalk, heightened with white, 405 x 225 mm,Teylers Museum, Haarlem Study of a Male Nude (recto),c. 1504,Black chalk, partial white heightening, 404 x 260 mm Kneeling Male Nude- Black chalk on paper, Galleria degli Uffizi, Florence Three Studies of a Leg- Pen and ink on paper, Galleria degli Uffizi, Florence Study of a Male Nude - ink on paper, Galleria degli Uffizi, Florence Helmeted Head of a Youth, and Other Studies (recto),1503-04, Pen and brown ink, black pencil, 205 x 253 mm,Kunsthalle, Hamburg Bust of a Warrior, and a Head in Profile,1503-04,Pen and brown ink, 139 x 115 mm, Museum Boijmans Van Beuningen, Rotterdam -Galloping Rider, a Horse, and Other Studies,1503-04, Pen and brown ink, black chalk, leadpoint, 190 x 260 mm, Ashmolean Museum, Oxford Horse with Two Riders (recto),1508-09,Black chalk, 222 x 198 mm, Museum Boijmans Van Beuningen, Rotterdam 贰零壹捌 关注小莫和CAI老师 一起分享艺术世界的点滴 |
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