酒桶Bacchanal - 美国大都会艺术博物馆展品查阅

品名（中）	酒桶Bacchanal
品名（英）	Bacchanal with a Wine Vat
入馆年号	1986年，1986.1159
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Andrea Mantegna【1430 至 1506】【意大利人】
创作年份	公元 1475
创作地区
分类	印刷品（Prints）
尺寸	页: 11 3/4 x 17 3/16英寸 (29.9 x 43.7厘米)
介绍（中）	在他的一生中，曼特尼亚对古典古代着迷。在十六世纪中叶，传记作家乔治·瓦萨里（Giorgio Vasari）是第一个注意到曼特尼亚的二维作品如何具有雕塑品质的人，他写道："安德里亚一直认为，优秀的古代雕像比自然所展示的更完美，各个部分都更美丽。曼特尼亚于1488年至1490年在罗马，沉浸在古建筑以及古文物学家挖掘和收集的雕像和浮雕的研究中。回到曼图亚后，曼特尼亚继续借鉴他的罗马经验。这首作品及其伴奏Bacchanal与Silenus（见29.44.15）的灵感来自德拉瓦莱家族和罗马圣玛丽亚马焦雷教堂收藏的古董石棺，是曼特尼亚想象力可以无休止地将古董来源重新制定为完全原创设计的主要例子。虽然有人认为这些版画记录了冈萨加宫殿之一的装饰方案，但同样有可能的是，曼特尼亚利用这种媒介来探索自己的兴趣，除了宫廷的要求之外，并作为一种让他的发明广为人知的方式。在这里，醉酒的身影聚集在酒桶周围，充满了葬礼的威严。它在巴基克仪式和基督教奥秘之间的古老联系中唤起了更深层次的情感内容。中间的昏迷青年被一个憔悴的哀悼人物支撑着，就像《圣母怜子图》中死去的基督一样。在对这幅版画的所有可能的解释中，曼特尼亚制作他的版画很可能是为了让他的发明在曼图亚的赞助人圈子之外广为人知。
介绍（英）	Throughout his life, Mantegna was fascinated with classical antiquity. In the middle of the sixteenth century, the biographer Giorgio Vasari, was the first of many to note how Mantegna's work in two dimensions possessed a sculptural quality, writing that 'Andrea was ever of the opinion that the good ancient statues were more perfect and had greater beauty in their various parts than is shown by nature.' Mantegna was in Rome from 1488 to 1490 and immersed in the study of ancient buildings and the statues and relief sculptures that were being excavated and collected by antiquarians. After his return to Mantua, Mantegna continued to draw on his Roman experience. This composition and its companion Bacchanal with Silenus (see 29.44.15) were inspired by antique sarcophagi that were in the collections of the della Valle family and in the Church of Santa Maria Maggiore in Rome, and are prime examples of the way Mantegna's imagination could endlessly reformulate antique sources into entirely original designs. While it has been suggested that these prints record a decorative scheme for one of the Gonzaga palaces, it is equally likely that Mantegna made use of the medium to explore his own interests, apart from the demands of the court, and as a way to make his inventions widely known . Here, the drunken figures gather around the wine vat populating the space with a funereal majesty. It conjures a deeper emotional content in the ancient associations between Bacchic rites and Christian mysteries. The unconscious youth at the center is held up by a gaunt mourning figure much like the dead Christ in the Pietà. Of all the possible interpretations of this print, it is most likely that Mantegna produced his engravings as a means of making his inventions widely known beyond his circle of patrons in Mantua.