鹿特丹伊拉斯谟 - 美国大都会艺术博物馆展品查阅

品名（中）	鹿特丹伊拉斯谟
品名（英）	Erasmus of Rotterdam
入馆年号	1919年，19.73.120
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Albrecht Dürer【1471 至 1528】【德国人】
创作年份	公元 1526
创作地区
分类	印刷品（Prints）
尺寸	页: 9 3/4 x 7 1/2 英寸 (24.8 x 19.1 厘米) tri毫米ed within plate line at top and bottom, slight margin at sides
介绍（中）	作为罗马天主教改革家和最重要的荷兰人文主义者之一，鹿特丹的伊拉斯谟对阿尔布雷希特·丢勒（Albrecht Dürer）深表钦佩，他在悼词中称赞他是最伟大的图形艺术家："在没有色彩平淡的情况下完成阿佩勒在他们的帮助下完成的事情不是更美妙吗？伊拉斯谟将丢勒比作阿佩勒——事实上，在断言德国人优于希腊艺术家时——呼应了可追溯到古代的传统，即根据前辈设定的标准来评判艺术家及其作品的视觉特征。丢勒肯定会欣赏对他的图形才华的赞誉。这幅肖像充分展示了丢勒在没有色彩或液体介质的情况下能够实现的良性效果。令人信服的是，伊拉斯谟与画面平面成一定角度，站在他的书房里写作，书本表明他丰富的智慧和学术成就围绕着他。百合花瓶可能指的是他心灵的纯洁，而拉丁语和希腊语的铭文像墙上的一幅画一样突出地框住，强调了学者的人文主义兴趣："鹿特丹伊拉斯谟的形象是阿尔布雷希特·丢勒从生活中画出来的。以下是罗马数字的日期 1526 年和艺术家的会标。丢勒在1520年和1521年访问荷兰期间，在布鲁塞尔至少见过伊拉斯谟一次，在鹿特丹两次。尽管他在旅途中多次绘制了伊拉斯谟的素描，但直到六年后他才完成雕刻，直到他的密友威利巴尔德·皮尔克海默的鼓励下才完成雕刻;显然，出于某些原因，丢勒对这位著名的新教改革家感到失望。丢勒的肖像基于昆汀·马西斯（Quentin Massys）收藏的皮尔克海默（Pirkheimer）收藏的1519年奖章，并复制了奖章上的希腊铭文，上面写着："他的作品显示了更好的肖像。据推测，伊拉斯谟同意了，因为他至少向他的两位同事表达了他对这幅肖像的失望。然而，丢勒的《伊拉斯谟》仍然是历史上对学术关注和人文主义理想的最丰富、最有力的描述之一。
介绍（英）	A Roman Catholic reformer and one the most important Netherlandish humanists, Erasmus of Rotterdam held a deep admiration for Albrecht Dürer, whom he praised in a eulogy as the greatest of graphic artists: "And is it not more wonderful to accomplish without the blandishment of colors what Apelles accomplished with their aid?" In likening Dürer to Apelles—indeed, in asserting the German's superiority over the Greek artist—Erasmus echoed a tradition dating back to antiquity of judging artists and the visual character of their work by the standards set by their predecessors. Dürer would certainly have appreciated the praise for his graphic talents. The portrait amply demonstrates the virtuous effects Dürer was able to achieve without the benefit of color or a liquid medium. Convincingly aligned at an angle to the picture plane, Erasmus stands writing in his study, with the books that indicate his substantial intellect and scholarship arranged around him. The vase of lilies probably refers to the purity of his mind, while the Latin and Greek inscription, prominently framed like a picture on the wall, underscores the scholar's humanistic interests: "This image of Erasmus of Rotterdam was drawn from life by Albrecht Dürer." Below are the date, 1526, in Roman numerals, and the artist's monogram. Dürer met Erasmus at least once in Brussels and twice in Rotterdam during a trip to the Netherlands in 1520 and 1521. Although he sketched Erasmus several times during his trip, he did not execute the engraving until six years later, and only then with the encouragement of his close friend Willibald Pirkheimer; apparently, for certain reasons Dürer had been disappointed by the well-known Protestant reformer. Dürer based the portrait on a medal of 1519 in Pirkheimer's collection by Quentin Massys and reproduced the Greek inscription found on the medal, which states: "A better portrait his writings show." Presumably Erasmus agreed, because he made known his disappointment with this portrait to at least two of his colleagues. And yet, Dürer's Erasmus remains one of history's richest and most powerful depictions of scholarly preoccupation and the humanist ideal.