French Suite No.5 in G Major 来自中国油画院 00:00 04:10 透视是弗朗切斯卡一生深研的课题,他通过透视所达到的视错觉效果 以在殿堂的墙壁上摹写所见的世界,还原真实的历史,图绘传说的故事。也许是所信之本体,甚或经时间长久的凝积与隔阂,那些颗粒斑斑的画面人物总给观者以超越现实的疏离感,有种明显地高于当下之众的东西。他的典雅(色彩)与严谨(造型)是可见的,不必多言,也许这就是给观者真实却又超越的原因。时代之所信必然会带入时人所在的各处,艺术自然不会例外,因此画面那种宗教庄严的仪式感仿若在会堂里。却又分明隐含着一种剧场感,像是在剧院里,要演给人看。 · 从皮耶罗几何学和透视学的著述中可以看出,他在科学方面的造诣不亚于同时代的任何人,或许亦不逊于任何时代里的任何人。他的全部作品——充满透视学知识——表明了这一点。 ——瓦萨里《著名画家、雕塑家、建筑家传》 Madonna and Child with Saints 248 × 170 cm Tempera on panel Pinacoteca di Brera, Italy ~1472-74 Madonna and Child with Saints(detail) Madonna and Child with Saints(detail) ←左 右 滑 动 观 看 → Portraits of the Duke and Duchess of Urbino Tempera on panel 47 × 66 cm Urfield Museum, Italy ~1473 ←左 右 滑 动 观 看 → Augustinian Nun, Augustinian Monk Tempera on panel ~1426 Saint ApolloniaTempera on panel38.8 × 28 cm American National Gallery ~1455-1460 Portrait of a WomanTempera on panel31.4 x 25.4 cm Portrait of a BoyTempera on panel41 x 27.5 cm Museo Nacional Thyssen-Bornemisza, Madrid ~1483 Sigismondo Pandolfo MalatestaOil and tempera on panel44.5 × 34.5 cm Paris, Musée du Louvre ~1450-51 · 皮耶罗对艺术一往情深,十分重视透视学,他对欧几里得 深有研究,因而比任何一个几何学家更懂得规则的物体的曲线,我们所有关于这些问题的最清楚的阐释,都来自于他。 ——瓦萨里《著名画家、雕塑家、建筑家传》 The Baptism of ChristTempera on panel168 × 116 cm National Gallery, London ~1448-50 The Baptism of Christ (detail)The Baptism of Christ (detail)The Baptism of Christ (detail) The Baptism of Christ (detail) The Baptism of Christ (detail) The Baptism of Christ (detail) The Resurrection Tempera on panel 225 x 200 cm Museo Civico,Sansepolcro,Italy ~ 1459 The Resurrection (Detail) The Resurrections (Detail) The Resurrection (Detail) The Resurrection (Detail) The Resurrection (Detail) The Resurrections (Detail) · 要知道,绘画不是别的什么东西,而是许多所见之物和许多所见之面的表达,这些所见之物和这些所见之面要在有限的平面上被缩小或放大,而且要缩小或放大到那种程度——使它们在不同角度下被眼睛所看见的那些真实物体和那些真实的面一模一样。 没有这种科学(指透视学),任何物体都不能被准确地缩小。——弗朗切斯卡《论绘画透视》 General view of the Cappella Maggiore in San Francesco,Arezzo General view of the Cappella Exaltation of the Cross Tempera on panel Maggiore in San Francesco,Arezzo ~1460s Exaltation of the Cross(detail) Exaltation of the Cross(detail) Exaltation of the Cross(detail) Exaltation of the Cross(detail) Exaltation of the Cross(detail) Exaltation of the Cross(detail) Exaltation of the Cross(detail) Exaltation of the Cross(detail) Death of Adam Tempera on panel 390 x 747 cm Maggiore in San Francesco,Arezzo ~1460s Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) Death of Adam(detail) discovery and proof of the true crossTempera on panel 747 x 356 cm Maggiore in San Francesco,Arezzo ~1460s discovery and proof of the true cross(detail)discovery and proof of the true cross(detail)discovery and proof of the true cross(detail)discovery and proof of the true cross(detail)discovery and proof of the true cross(detail)discovery and proof of the true cross(detail)discovery and proof of the true cross(detail)Procession of the Queen of Sheba And Meeting between the Queen of Sheba and King Solomon Tempera on panel 336 × 747cm Maggiore in San Francesco,Arezzo ~1460s Procession of the Queen of Sheba(detail) Procession of the Queen of Sheba(detail) Procession of the Queen of Sheba(detail) Procession of the Queen of Sheba(detail) Procession of the Queen of Sheba(detail) Meeting between the Queen of Sheba and King Solomon(detail) Meeting between the Queen of Sheba and King Solomon(detail) Meeting between the Queen of Sheba and King Solomon(detail) Meeting between the Queen of Sheba and King Solomon(detail) Meeting between the Queen of Sheba and King Solomon(detail) battle between heraclius and chosroes Tempera on panel 747 x 329 cm Maggiore in San Francesco,Arezzo ~1460s battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between heraclius and chosroes(detail) battle between constantine and maxentiusTempera on panel 764 x 322 cm Maggiore in San Francesco,Arezzo ~1458 battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) battle between constantine and maxentius(detail) Giovanni di Piamonte, The Prophet Isaiah Tempera on panel Maggiore in San Francesco,Arezzo ~1455 Giovanni di Piamonte, The Prophet Isaiah(detail) The Prophet Jeremiah Tempera on panel Maggiore in San Francesco,Arezzo 1455 The Prophet Jeremiah(detail) The Prophet Jeremiah(detail) Torture of the Jew 193 x 356 cm Tempera on panel Maggiore in San Francesco,Arezzo ~1455 Torture of the Jew(detail) Torture of the Jew(detail) Torture of the Jew(detail) Torture of the Jew(detail) burial of the wood 190 x 356 cm Tempera on panel Maggiore in San Francesco,Arezzo ~1455 burial of the wood(detail) burial of the wood(detail) burial of the wood(detail) Tempera on panel 193 x 329 cm Maggiore in San Francesco,Arezzo ~1455 Annunciation(detail) · 皮耶罗最精彩的他是的“夜”(《康斯坦丁大帝之梦》constantines dream),不论想象力还是艺术性。一个按透视法缩短的天使,头朝下飞去,把胜利的预兆带给康斯坦丁,后者正睡在一个大帐篷里,一名内侍和几名士兵在一旁守卫。在夜晚的黑暗中,他们依稀可辨,天使以自己的光照亮帐篷、士兵和周围的一切。这幅画是精心之作,因为皮耶罗让我们知道了在这样的黑暗中,把事物如实地、依据真实的模特儿描绘是多么的重要。他做得很成功,致使后人可以跟随他而在我们的时代中获得他艺术的那种无上的完美。 ——瓦萨里《著名画家、雕塑家、建筑家传》 constantines dream 329 x 190 cm Tempera on panel Maggiore in San Francesco,Arezzo ~1455 ←左 右 滑 动 观 看 → Four Saints Maggiore in San Francesco,Arezzo tempera on panel ~1460s head of an angel tempera on panel Maggiore in San Francesco,Arezzo ~1460s · 绘画包括三个主要部分,我们把这三部分称之为素描、测度(透视)和赋彩。我们说素描,是指包含在物体本身的侧面和轮廓。我们说测度,是指把这些侧面和轮廓成比例地安置在它正确的位置。我们说赋彩,是指把被画之物呈现出来的颜色(依赖于光的强弱而呈现出来的明的和暗的颜色)涂在素描上。测度,我们把它称之为透视。——弗朗切斯卡《论正确的形体》 The Flagellation Oil and tempera on panel 58.4 × 81.5 cm Italy,Galleria Nazionale delle Marche Urbino ~1454 -1460 The Flagellation(detail) The Flagellation(detail) The Nativity Tempera on panel 122.6 x 124.5 cm The National Gallery, England ~1470 The Nativity (detail) The Nativity (detail) The Nativity (detail) The Crucifixion Tempera on panel ~1460s Virgin and Child Enthroned with Four Angels Tempera on panel 107.8 × 78.4 cm Clark School of art, Massachusetts, USA ~1460-1470 Madonna and Child with Saints 53.5 x 61 cm Tempera on panel Italy,the ducal palace of urbino and national gallery of brands ~1470 Polyptych of the Misericordia Oil and tempera on panel 323 x 273 cm Sansepolcro , Museo Civico ~1445-62 Polyptych of the Misericordia (detail of the Madonna of Mercy) Oil and tempera on panel 134 x 91 cm Sansepolcro , Museo Civico ~1445-62 Polyptych of the Misericordia (detail of the Madonna of Mercy) Polyptych of the Misericordia (detail of The Crucifixion) Oil and tempera on panel 81 x 52 cm Sansepolcro , Museo Civico ~1445-62 Polyptych of the Misericordia (detail of Saint Sebastian and Saint John the Baptist) Oil and tempera on panel 108 x 90 cm Sansepolcro , Museo Civico ~1445-62 Polyptych of the Misericordia (detail of Saint Sebastian and Saint John the Baptist) Saint Sigismund and Sigismondo Malatesta tempera on panel 257 x 345 cm Rimini. San Francesco(Tempio Malatestiano) Saint Sigismund and Sigismondo Malatesta (detail) Penance of Saint Jerome Tempera on panel 51 × 38 cm Berlin, Gemaldegalerie Dahlem ~1450 Sant Jerome and a donor Tempera on panel 40 x 42 cm Venice, Gallerie dell' Accademia saint Julian Tempera on panel 105 x 130 cm ~1455-1460 ←左 右 滑 动 观 看 → Saint Michael,Saint John the Evangelist,Saint Nicholas of Tolentino oil and tempera on panel 133 × 59 cm x 3 The National Gallery, England ~1454-69 · 皮耶罗·德拉·弗朗切斯卡(Piero della Francesca,约1415/1420-1492)来自托斯卡纳省,后来成为早期文艺复兴最著名的艺术家之一。弗朗切斯卡早年受到优良教育,生前享有盛誉,许多富商都到他那里订画,然而死后被人遗忘,直到20世纪才被人重新发现。他写了大量关于数学和透视法的文章,晚年写有论文《论绘画透视》和《论正确的形体》两篇。精准的线性透视法是其作品的主要特色,他在艺术实践中把完善的透视、严谨的形体比例与细腻和谐的色彩合而为一。他的许多作品都是花大量时间完成,背景刻画十分细致,光线清晰,空间距离感得到适当强调,构图匀称,他的风格对15世纪中叶的佛罗伦萨以及北意大利诸城有革命性的影响,推动了北部和中部意大利画派的发展。 · 微信设计:韩博 编辑:昌旭正 · www.opcn.org.cn |
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