醉酒的SiIenus：为“Tazza Farnese”设计 - 美国大都会艺术博物馆展品查阅

品名（中）	醉酒的SiIenus：为“Tazza Farnese”设计
品名（英）	The Drunken SiIenus: Design for the "Tazza Farnese"
入馆年号	1972年，1972.133.4
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 1599 - 公元 1600
创作地区
分类	图画（Drawings）
尺寸	页: 10 1/16 x 10 1/16 英寸 (25.6 x 25.5 厘米)
介绍（中）	希腊神话中放荡的西勒努斯神斜倚在中央，已经喝醉了，正准备继续从有角色狼和裸体青年拿着的麻袋里喝酒，而两边的普蒂爬在框架的观赏藤蔓上，向这群人提供葡萄。这幅最后完成的示范画是为安尼巴莱的赞助人红衣主教奥多阿多·法尔内塞（Odoardo Farnese）制作的站立的银杯或救药膏（"Tazza Farnese"），是艺术家仅有的签名画作之一。"Tazza Farnese"已不复存在。一块银牌（那不勒斯国家博物馆），可能是复制品，而不是"Tazza"的原件，于 1955 年被重新发现。它显然用于版画制作，并且从相当早的日期开始就从中提取了它。 Annibale为这块银牌匾进行的另外两项研究幸存下来（伦敦大英博物馆和芝加哥艺术学院[以前在埃尔斯米尔收藏]），代表了设计的早期阶段。关于那不勒斯牌匾，本图仅显示微小的变化。安尼巴莱为法尔内塞杯制作了许多准备草图，包括这张，其中边界被切开以进行转移。人物场景没有被切割，记录完成设计的印刷品中有一些明显的变化：人物的位置发生了变化，巴克斯追随者携带的法杖thyrsos被牧羊人的弯钩所取代，这是潘的属性。
介绍（英）	The debauched god Silenus of Greek mythology reclines in the center, already drunk and about to continue imbibing wine from the sack held by a horned satyr and a nude youth, while at either side putti climbing on the ornamental vines of the frame offer grapes to the group. This final, highly finished demonstration drawing is for a standing silver cup or salver (the "Tazza Farnese"), for Annibale's patron Cardinal Odoardo Farnese and is one of the only signed drawings by the artist. The "Tazza Farnese" is no longer extant. A silver plaque (Museo Nazionale, Naples), probably a copy rather than an original piece from the "Tazza" was rediscovered in 1955. It was apparently used for printmaking, and pulls from it were taken from a fairly early date onward. Two other studies by Annibale for this silver plaque have survived (British Museum, London; and Art Institute of Chicago [formerly in the Ellesmere collection]), and represent earlier stages of the design. With respect to the Naples plaque, the present drawing reveals only minor changes. Annibale produced a number of preparatory sketches for the Farnese cup, including this one, in which the border is incised for transfer. The figural scene is not incised, and some changes are evident in the print that records the finished design: the position of the figures has been shifted, and the thyrsos, a staff carried by followers of Bacchus, has been replaced with the shepherd's crook that is an attribute of Pan.