海卫一探测海螺壳 - 美国大都会艺术博物馆展品查阅

品名（中）	海卫一探测海螺壳
品名（英）	Triton Sounding a Conch Shell
入馆年号	1970年，1970.15
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Annibale Carracci【1560 至 1609】【意大利人】
创作年份	公元 1592 - 公元 1607
创作地区
分类	图画（Drawings）
尺寸	页: 15 1/4 x 9 9/16 英寸 (38.8 x 24.3 厘米)
介绍（中）	这项研究因其绘画的能量、手段的经济性和表达的纪念性而令人眼花缭乱。它正在为出现在罗马法尔内塞宫画廊天花板上的大型长方形壁画《忒提斯被带到佩琉斯新娘室（加拉蒂亚的胜利）》的最左侧的海卫一做准备，该项目始于 1597 年。 Annibale在巨大的Farnese Gallery壁画周期中发明了大部分健壮的人物 - 他的近九十幅绘画现存 - 在众多大型研究中从真人裸体模特那里探索他们的姿势，使用这里看到的技术进行。然而，许多漫画（全尺寸图纸）和完成壁画的一些场景，包括《被带到新娘房的忒提斯》，都是他的哥哥阿戈斯蒂诺的作品。在安尼巴莱的这幅充满活力的画作中，海卫一重复起伏的轮廓似乎是他水性的表现。这幅画是对装饰罗马法尔内塞宫画廊拱顶的人物之一的研究，这是安尼巴莱最重要和最有影响力的壁画周期。虽然出现这个人物的壁画是由安尼巴莱的兄弟阿戈斯蒂诺执行的，但安尼巴莱显然干预了它的设计。安尼巴莱以十七世纪初复兴绘画艺术而闻名，他以拉斐尔为榜样，他勤奋地研究拉斐尔的作品。当然，拉斐尔的《加拉蒂亚》的海顿，左边是马尔坎托尼奥的版画，在他创作这个人物研究时就在他的脑海中。
介绍（英）	This study is dazzling for the energy of its drawing, economy of means, and monumentality of expression. It was preparatory for a triton that appears at the extreme left of a large oblong fresco Thetis Carried to the Bridal Chamber of Peleus (The Triumph of Galatea) on the ceiling of the gallery of the Palazzo Farnese, Rome, a project begun in 1597. Annibale invented most of the robust figures in the gigantic Farnese Gallery fresco cycle - nearly ninety of his drawings for it are extant -- exploring their poses from live nude models in numerous large-scale studies executed with the technique seen here. Many of the cartoons (full-scale drawings) and a few scenes of the finished frescoes, including Thetis Carried to the Bridal Chamber, however, were the work of his elder brother, Agostino. In this vigorous drawing by Annibale, the repeated, undulating contours of the Triton seem an expression of his aqueous nature. This drawing is a study for one of the figures decorating the vault of a gallery in Rome's Palazzo Farnese, Annibale's most important and influential fresco cycle. Although the fresco in which this figure appears was executed by Annibale's brother Agostino, Annibale clearly intervened in its design. Famed for reviving the art of painting at the beginning of the seventeenth century, Annibale was guided by the example of Raphael, whose work he studied assiduously. Certainly the Tritons of Raphael's Galatea, shown at left in an engraving by Marcantonio, were in his mind when he created this figure study.