这是一次主题展览。除了美与爱的主题外,还有个性于情感,身体与灵魂两个主题。参观者一进美术馆立即就能与《西西莉亚加莱拉尼的画像》,也叫《抱貂的女人》打个照面。尽管各种仿制品已经让我们对这幅画很熟悉了,但是真作所散发出来的光辉仍让人惊叹。往前走能看到一幅未完成但却饱含激情的《圣杰罗姆》。首次,《岩间的圣母》的两个版本同时展出,一幅属于国家美术馆本馆,另一幅来自卢浮宫。
The two versions hang at opposite ends of the long exhibition space. The more one looks atthe two pictures, the more visible are the differences between them; the strangely formedrocks in the Louvre s version create a protective atmosphere, whereas in the NationalGallery s painting the rocks seem quite eerie, contributing to the overall sepulchral feel ofthe work.
这两幅画分别挂在长长的展览区两个相对的尽头,遥遥相望。而且你看得越仔细,就会发现它们的区别也更明显。卢浮宫的版本中,岩石奇特的形状营造出一种保护性的氛围,然而在国家美术馆的版本中。岩石似乎十分可怖,给整幅画蒙上了一层阴森森的感觉。
As a philosopher and scientist, da Vinci strove to understand what he observed in his closestudies of nature. Art was an expression of his thoughts. The Lady with an Ermine shows theDuke of Milan s teenage mistress in a fashionable red gown, its slit sleeves revealing apale underdress. Da Vinci, always fascinated by knots, carefully details the way the blackribbons are tied on Cecilia s left sleeve. Her right arm is in shadow. The ties on that sleeveare sketchy. The artist has taken into account his observation that visual acuity declines inthe dark. The brain fills in necessary information. The sketchiness of the right sleeve helpsbring the portrait to life, creating what Walter Pater, a 19th-century British essayist and artcritic, described as a reality which almost amounts to illusion.
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