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Disegno italiano del Rinascimento I Materiali e le tecniche (一)
材料与技法 (一) Pietra Rossa Naturale 天然红石 & The spring exhibition at Palazzo Strozzi is dedicated to Andrea del Verrocchio and his role in shaping 15th-century art in Florence, offering comparisons between his work and that of his predecessors, peers and pupils, including Leonardo da Vinci.在斯特洛奇宫举行的春季展览的主题是Andrea del Verrocchio以及他在十五世纪佛罗伦萨艺术中的角色，将他的作品与其前辈、平辈、学徒之间做比较，学徒中也包括莱欧纳多达芬奇。
? 2020 The Metropolitan Museum Title:The Practitioners of the Visual Arts Artist:Cornelis Cort (Netherlandish, Hoorn ca. 1533–1578 Rome) Artist:After Jan van der Straet, called Stradanus (Netherlandish, Bruges 1523–1605 Florence) Date:1578 Medium:Engraving Dimensions:sheet: 16 7/8 x 11 1/4 in. (42.8 x 28.6 cm) Classification:Prints Credit Line:Harris Brisbane Dick Fund, 1953 Accession Number:53.600.509 Pietra Rossa Naturale
? 2020 I.Paul Getty TrustTake a visual journey into the mind of Michelangelo, a painter, sculptor, architect, draftsman, and one of the most creative and influential artists in the history of Western art. See how he used drawings to create, explore, and prepare for some of his most famous works of art.Produced for the J. Paul Getty Museum's exhibition 'Michelangelo: Mind of the Master.' 在米开朗基罗——这样一位画家、雕塑家、建筑家、绘图师以及西方艺术史中最富创造力和影响力的人物的脑海中进行一次视觉之旅。了解他是如何使用绘画来进行创作、探索并制造出最著名的艺术作品。 为J. Paul Getty博物馆展览而做 “米开朗基罗：大师的思想。” 
? The Trustees of the British Museum Description :Study of a crucified man (Haman) with separate leg and foot studies. 1512 Red chalk Producer name Drawn by: Michelangelo School/style: Florentine Roman Production date:1512 Materials:paper Technique:drawn Dimensions Height: 404 millimetres Width: 206 millimetres La pietra rossa, un pigmento minerale formato da argilla pigmentata da ossido di ferro , è uno dei più antichi materiali disegnativi , anche se trovò scarso uso in Italia fino alla seconda metà del Quattrocento . è difficile spiegare il motivo , dal momento che essa veniva impiegata strofinandola sulla superficie del foglio per conferirgli una tonalità calda , come nel caso dei disegni di artista senese e di Lorenzo Monaco dei primi anni del XV secolo , o mescolandola con acqua per stenderla col pennello come nel libro di disegni di Pisanello(il cosiddetto Album rouge ) del Louvre. Nel presente catalogo il primo esempio di utilizzo della pietra rossa nel disegno , combinata con il carboncino , è la testa della Carità realizzata da Pollaiolo nei tardi anni Sessanta del Quattrocento .
? The Trustees of the British Museum Description : Christ and the Woman of Samaria; the woman standing at the well holding a jug, a group of figures in a doorway behind at right Pen and brown ink, with grey-brown wash, heightened with white (partly discoloured), over black chalk, on paper rubbed with red chalk Verso: Christ Healing the Man Born Blind; a man washing his hands in a well to right, a tower and wall behind Pen and brown ink, with grey-brown wash, over black chalk, on paper rubbed with red chalk Producer name Drawn by: Anonymous School/style : Sienese Production date :1390-1410 (circa) Materials : paper Technique : drawn Dimensions Height: 275 millimetres Width: 208 millimetres 红色石头，是一种由因含有铁的氧化物而呈现红色的黏土构成的矿物色粉，是最古老的绘画材料之一，尽管在十五世纪后半叶之前在意大利很少使用。很难解释这个现象的原因，因为这种红石头是通过在纸的表面来回摩擦而得到一种暖色调。
? The Trustees of the British Museum Description:
Abundance or Autumn; female figure wearing classical dress, holding the hand of a putto who holds grapes, two more behind and another with a cornucopia at l Pen and brown ink, with brown wash, heightened with white, over black and red chalk, the concentrated orange-red ground consists mainly of red lead Verso: A decorative border Pen and brown ink, with brown wash Producer name Drawn by: Sandro Botticelli School/style: Florentine Production date : 1480-1485 (circa) Materials : paper Technique : drawn Dimensions Height: 317 millimetres Width: 252 millimetres 例如十五世纪初锡耶纳画家Lorenzo Monaco(洛伦佐·摩纳哥)的一些素描稿;或是将其与水调和，用画笔涂在纸上，例如藏于卢浮宫的A. Pisanello (皮萨内洛)的素描本(被称作“Album rouge”- 红色集)。Pollaiolo (波拉约洛)在十五世纪六十年代末绘制的《Carità》(博爱) 的头部使用红色石头并混合使用炭笔。
? THE ROYAL COLLECTION TRUST
LEONARDO DA VINCI (VINCI 1452-AMBOISE 1519) THE HEAD OF THE MADONNA(?) C.1510-15 RED AND BLACK CHALKS, BRUSH AND INK, WHITE HEIGHTENING, ON ORANGE-RED PREPARED PAPER 24.4 X 18.7 CM (SHEET OF PAPER) Leonardo è generalmente riconosciuto come un precursore nell'uso della sola pietra rossa a partire dagli anni Novanta , dopo il suo trasferimento a Milano. Negli studi per l'Ultima cena affrescata a partire dal 1495 circa nel refettorio di Santa Maria delle Grazie a Milano, Leonardo conferì un nuovo naturalismo al disegno delle figure sfruttandone i toni caldi, assimilabili a quelli della carnagione , qualità che successivamente sarebbero state ulteriormente messe a frutto da artisti fiorentini più tardi quali Michelangelo , Andrea del Sarto ( 1486 - 1530 ) e Jacopo Pontormo ( 1494 -1557 ) . Come tutte le pietre , quella rossa era soggetta a variazione in densità e colore . L’acuta e incisiva qualità del tratteggio nel disegno leonardesco del periodo milanese denota l’uso di una pietra piuttosto dura , mentre ne utilizzò una più morbida e friabile per il più tardo studio di gamba .
? THE ROYAL COLLECTION TRUST LEONARDO DA VINCI (VINCI 1452-AMBOISE 1519)The head of St James, and architectural sketches c.149525.2 x 17.2 cm (sheet of paper) 达芬奇通常被认为是自十五世纪九十年代迁往米兰之后就只使用红色石头的先驱。自1495年起为米兰恩宠圣母(Santa Maria delle Grazie)修道院饭厅绘制 《最后的晚餐》湿壁画的草图中，达芬奇通过使用近似于肤色的暖色调，为人物素描赋予了一种新的自然主义，这也被之后的佛罗伦萨艺术家所采用， 
? THE ROYAL COLLECTION TRUST LEONARDO DA VINCI (VINCI 1452-AMBOISE 1519)The head of Judas c.1495 or laterRed chalk on red prepared paper 18.0 x 15.0 cm (sheet of paper) 
? THE ROYAL COLLECTION TRUST LEONARDO DA VINCI (VINCI 1452-AMBOISE 1519)The head of St Bartholomew c.1495 or laterRed chalk on red prepared paper 19.3 x 14.8 cm (sheet of paper) 例如Michelangelo(米开朗基罗) , Andrea del Sarto ，1486 - 1530(安德里亚·德尔·萨托) 以及Jacopo Pontormo，1494 -1557(雅各布·蓬托尔莫) 。像所有的石头一样，红色石头也会有不同的密度和颜色。
? 2020 The Metropolitan Museum of ArtTitle : Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)Artist : Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome)Medium : Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)Dimensions : Sheet : 11 3/8 × 8 7/16 in. (28.9 × 21.4 cm)Framed : 21 × 16 in. (53.3 × 40.6 cm)Classification : DrawingsCredit Line : Purchase, Joseph Pulitzer Bequest, 1924Accession Number : 24.197.2
Study of the Head of a Young Woman about 1523 Andrea del Sarto red chalk ? Gabinetto Disegni e Stampe, Gallerie degli Uffizi, Florence
Jacopo da Pontormo (1494-1557) Youth turning his head ca. 1528-30 red chalk ? Gabinetto Disegni e Stampe, Gallerie degli Uffizi, Florence 达芬奇在米兰时期的素描中线条清晰，说明使用了一种比较硬的石头，而在之后对于腿部的研究中则使用了一种比较软、松散易碎的石头。
? THE ROYAL COLLECTION TRUST LEONARDO DA VINCI (VINCI 1452-AMBOISE 1519)The leg muscles and bones of man and horse c.1506-8Red chalk, pen and ink, on orange-red prepared paper 28.2 x 20.4 cm (sheet of paper)Pietra Nera Naturale 天然黑石
? 2020 The Metropolitan Museum of Art Michelangelo: Mind of the Master The Kelvin and Eleanor Smith Foundation Exhibition Hall
The name of the Italian Renaissance painter, sculptor, and architect Michelangelo Buonarroti (1475–1564) is synonymous with creative genius and virtuosity. The exhibition Michelangelo: Mind of the Master presents an unprecedented opportunity for museum visitors to experience the brilliance of Michelangelo’s achievements on an intimate scale through more than two dozen original drawings. Michelangelo’s genius is especially evident through his breathtaking draftsmanship on sheets filled with multiple figures and close studies of human anatomy. These working sketches invite us to look over the shoulder of one of Western art history’s most influential masters and to experience firsthand his boundless creativity and extraordinary mastery of the human form. These drawings demonstrate Michelangelo’s inventive preparations for his most important and groundbreaking commissions, including the Sistine Chapel ceiling fresco, sculptures for the tomb of Giuliano de’ Medici, and the dome of Saint Peter’s Basilica.
米开朗基罗：大师的思想 The Kelvin和Eleanor Smith基金会展览大厅
意大利文艺复兴时期的画家、雕塑家和建筑师米开朗基罗·布奥纳罗蒂（Michelangelo Buonarroti，1475–1564年）的名字是创意天才和才华的代名词。展览“米开朗基罗：大师的思想”为博物馆的参观者们提供了一次前所未有的机会，可以通过二十多幅原作来近距离感受米开朗基罗的才华。米开朗基罗的才华在其绘满各种人物的纸上以及人体解剖学的仔细研究中展现得淋漓尽致。这些素描草图邀请我们看向西方艺术史上最具影响力的大师之一，并亲自体验他无穷的创造力和对人体形态的熟练掌握。这些画作展现了米开朗基罗为其最重要以及最具开创性的任务所做的创造性的准备工作，这些任务包括西斯廷礼拜堂天顶的壁画，朱利亚诺·德·美第奇墓的雕塑，以及圣伯德禄大教堂的圆顶。 A giudicare dalla descrizione che ne fa Cennini nel suo manuale, la pietra nera , un tipo di scisto carbonifero semiduro, non sembra venisse usato comunemente alla fine del Trecento, almeno in Toscana:《 ho trovato certa prìa nera , che vien del Piemonte , la quale è tenera prìa ; e puo’la aguzzare con coltellino 》, Tuttavia , la dichiarata preferenza di Cennino per il carboncino poteva non essere condivisa dai suoi contemporanei, dal momento che la sottotraccia presente nel foglio disegnato su entrambi i lati da un artista senese dei primi del Quattrocento pare essere stata eseguita a pietra nera .
Andrea Mantegna Portrait of a Man
1470-75 Black chalk on discoloured grayish brown paper, 339 x 235 mm Musée des Beaux-Arts et d'Archéologie, Besan?on La sua compattezza permetteva di affilarne la punta , così da poter rendere i dettagli sottili e le variazioni di intensità diminuendo o aumentando la pressione sul supporto, e allo stesso tempo consentiva morbide gradazioni tonali modulando le zone d'ombra con un polpastrello o uno sfumino (un piccolo rotolo di pelle , carta o feltro dalle estremità smussate ).
Vittore Carpaccio (c. 1460-66?c. 1525-6) Study of female head
? Ashmolean Museum, University of Oxford Sebbene la pietra nera si trovi occasionalmente nei disegni eseguiti prima del 1450 , è solo nella seconda metà del secolo che il suo uso si diffuse sia al Nord (con artisti quali Mantegna , Carpaccio e Vivarini ) sia in Italia centrale (ivi inclusi Antonio Pollaiolo , Verrocchio e Leonardo) . Il pittore toscano Luca Signorelli fu particolarmente sensibile alle possibilità espressive e atmosferiche offerte dalla pietra nera per gli studi di figura , come si può ben osservare nell'uso di questa tecnica (combinata con la pietra rossa ) nello studio con i demoni .
? The Trustees of the British Museum
Description : Two studies of a male torso in profile to right. 1519-23 Black chalk Producer name Drawn by : Michelangelo School/style : Florentine Roman Production date : 1519-1523 Materials: paper Technique : drawn Dimensions Height: 225 millimetres Width: 165 millimetres
? THE ROYAL COLLECTION TRUST LEONARDO DA VINCI (VINCI 1452-AMBOISE 1519)THE HEAD OF ST ANNE C.1510-15BLACK CHALK | 18.8 X 13.0 CM (SHEET OF PAPER) | RCIN 912533从Cennini(切尼尼)在其艺术手册中的描述来看，黑石头，一种半硬的含煤?岩，似乎在十四世纪末期并未被广泛使用，至少是在托斯卡纳大区: “我发现了一种来自皮埃蒙特大区的黑色黑头，这是种柔软的石头。他可以用小刀将其削尖” ，但是，同时代的人可能并不像切尼尼一样表现出对于炭笔的喜爱，一位十五世纪初锡耶纳画家在一张纸的两面画的素描似乎是用这种黑石头绘制的。这种石头非常紧密，可以被削尖，能够绘制微小的细节，或者通过在支撑物上减少或增大压力而产生色调变化，同时还能够用指尖或擦笔(一小卷尖端被磨掉的皮、纸或毛毡)让阴影区域的色调更加柔和。
? THE ROYAL COLLECTION TRUST MICHELANGELO BUONARROTI (CAPRESE 1475-ROME 1564)RECTO: THE HEAD OF THE VIRGIN. VERSO: THE HEAD OF A YOUNG WOMAN C.1540BLACK CHALK 21.2 X 14.2 CM (SHEET OF PAPER) RCIN 912764 Andrea del Verrocchio (ca. 1435-1488) Study of an Ideal Female Head Black chalk, white heightening, outlines pricked 408 x 327 mm 尽管在1450年之前绘制的素描中偶尔会发现黑色石头，但直到十五世纪下半叶，黑石头才在意大利北部(例如艺术家Mantegna-曼特尼亚，Carpaccio-卡巴乔和Vivarini-维瓦里尼)和中部(包括Antonio Pollaiolo-安东尼奥·波拉约洛, Verrocchio-?罗基奥和Leonardo-达芬奇)得到广泛使用。托斯卡纳画家Luca Signorelli(卢卡·?诺雷利)敏锐地感知到黑石头在人物画中提供的表现力和渲染能力，正如在其对于魔?的绘画习作中可以找到这种黑石头的使用(与红石头一起)。
? The Trustees of the British MuseumDescription: Study of Christ's drapery rising from the tomb Black chalk (the figure and outline of drapery) and silverpoint, heightened with white, on blue prepared paper Producer name : Drawn by: Giovanni Antonio Boltraffio Formerly attributed to: Marco d'Oggiono Formerly attributed to: Leonardo da Vinci School/style: Milanese Production date: 1491 (circa) Materials: paper Technique: drawn Dimensions Height: 180 millimetres Width: 155 millimetres
Leonardo da Vinci (Vinci (Florence), 1452 - Chateau de Cloux, near Amboise, 1519)
Portrait of Isabella d'Este
1499-1500 Red and black chalks and stumping ocher chalk, white highlights; H. 61 cm; W. 46.5 cm Paris, Musée du Louvre, dép. des Arts graphiques, MI 753
? The British Museum Keeper and Curator of Italian and French drawings from c. 1400 to c. 1800 in Department of Prints and Drawings, British Museum. Joined the department in 1995 after a decade in the Old Master Drawings Department of a London auction house. Previously studied art history at London University. Became Keeper of Prints and Drawings in August 2011.
大英博物馆版画与绘画部门1400-1800年间意大利和法国绘画作品的负责人和策展人。他在伦敦一家拍卖行的古代大师绘画部门工作了十年后，于1995年加入了大英博物馆的这一部门。他此前曾在伦敦大学学习艺术史。于2011年8月成为版画与绘画部的负责人。
? Getty Conservation Institute Conserving Old Master Drawings: A Balancing Act A fundamental role of a museum is to care for its collection and preserve it for future generations. European drawings from the 1300s to the late 1800s, or old master drawings, are particularly vulnerable--they are on paper and hundreds of years old. A paper conservator must find the balance between maintaining the historical integrity of the drawing while preserving the appearance intended by the artist. Watch a Getty conservator analyze and treat a drawing using a variety of techniques in this short video. 保存古代大师的画作：一种平衡 博物馆的一个最基本的作用是保管藏品，并为后代对藏品进行保存和保护。十四至十九世纪晚期的欧洲绘画，或是古代大师的画作实际上非常脆弱-这些作品绘在纸上，具有数百年的历史。一个纸制品的保护师必须在保持绘画的历史完整性以及保留艺术家原本想要展示的外观之间找到一种平衡。 在这个短片中观看盖蒂的修复师采用多种技术来分析和处理绘画。
艺术史梦之旅
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